Designing the Cinematic Space: Cinematography of Vadim Yusov

Çolak M.

International Design and Cinema Symposium, İzmir, Turkey, 17 - 18 June 2021, pp.1

  • Publication Type: Conference Paper / Full Text
  • City: İzmir
  • Country: Turkey
  • Page Numbers: pp.1



Although cinematic space design includes basic design principles, it also requires a cinematic perspective. This perspective is formed at the intersection of optics, photography, architecture painting, and even mathematics. The cinematographer is responsible for developing this point of view. How competently s/he can use this perspective is of course related to the talent of the cinematographer. In this respect, the contribution of the cinematographer to the film in cinema is indisputable. Some cinematographers match the director of the film almost exactly. Cinematic style of the cinematographer proceeds in line with what the director of the film wants to convey. One of the best examples is undoubtedly the Soviet cinematographer Vadim Yusov and his collaboration with Andrei Tarkovsky. His distinctive style paralleled with what Tarkovsky wanted to convey in the filmic image to a degree that can hardly be compared with any other cinematographer. 

This work focuses on the cinematic style of Vadim Yusov, known as “Tarkovsky’s Cinematographer”. In this context, this study examines how he built the cinematic space, which visual elements he brought to the fore, which camera angles and movements, lighting techniques he preferred, and how he placed them in the filmic narrative. Within this framework, his work with Tarkovsky, especially Ivan’s Childhood (1962), Andrei Rublev (1966), and Solaris (1972) will be focused on using descriptive research methodology. 

Keywords: Cinema, Space, Cinematography, Soviet Cinema, Vadim Yusov.