{"id":28297,"date":"2015-03-19T15:19:47","date_gmt":"2015-03-19T22:19:47","guid":{"rendered":"http:\/\/admin.patheos.com\/blogs\/filmchat\/?p=28297"},"modified":"2015-03-19T15:19:47","modified_gmt":"2015-03-19T22:19:47","slug":"supercuts-explore-key-visual-motifs-in-aronofskys-films","status":"publish","type":"post","link":"https:\/\/www.patheos.com\/blogs\/filmchat\/2015\/03\/supercuts-explore-key-visual-motifs-in-aronofskys-films.html","title":{"rendered":"Supercuts explore key visual motifs in Aronofsky’s films"},"content":{"rendered":"\n<\/head>

Back in October<\/a>, I posted a series of screencaps demonstrating the visual and thematic links between Noah<\/a><\/i> and Darren Aronofsky\u2019s earlier films. One of these days, if I ever familiarize myself with video editing software, I might do something similar in video form. In the meantime, \u201csupercuts\u201d that chart the visual links between Aronofsky\u2019s films \u2014 up to and including Noah<\/i> \u2014 have begun to surface. You can check out two of them below the jump, and I will add more to this post if any come along.<\/p>\n

\u2018Pupil\u2019 looks at how Aronofsky\u2019s films have focused on the eyes of their characters:<\/p>\n

<\/iframe><\/p>\n<p>\u2018Blind Leading the Blind\u2019 looks at how the camera in his films often follows characters from behind, as if to make it seem that we are being dragged behind them:<\/p>\n<p><iframe loading=\"lazy\" title=\"Darren Aronofsky: Blind Leading the Blind\" src=\"https:\/\/player.vimeo.com\/video\/121628878?dnt=1&app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media\"><\/iframe><\/p>\n<\/body><\/html>\n","protected":false},"excerpt":{"rendered":"<p>One looks at how <i>Noah<\/i>, <i>Black Swan<\/i> and other films have focused on the eyes of their characters. Another looks at how these films have focused on the backs of the characters’ heads.<\/p>\n","protected":false},"author":1116,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[61,54,1485,63,1488,1644,1887],"class_list":["post-28297","post","type-post","status-publish","format-standard","hentry","category-blog","tag-black-swan","tag-darren-aronofsky","tag-fountain","tag-noah-2014","tag-pi","tag-requiem-for-a-dream","tag-wrestler"],"yoast_head":"\n<title>Supercuts explore key visual motifs in Aronofsky's films<\/title>\n<meta name=\"description\" content=\"One looks at how Noah, Black Swan and other films have focused on the eyes of their characters. 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Another looks at how these films have focused on the backs of the characters' heads.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.patheos.com\/blogs\/filmchat\/2015\/03\/supercuts-explore-key-visual-motifs-in-aronofskys-films.html\" \/>\n<meta property=\"og:site_name\" content=\"FilmChat\" \/>\n<meta property=\"article:published_time\" content=\"2015-03-19T22:19:47+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/wp.production.patheos.com\/blogs\/filmchat\/files\/2015\/03\/noah-backofhead.png\" \/>\n<meta name=\"author\" content=\"Peter T. Chattaway\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Peter T. 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