¿Por qué el cine moderno desenfoca tanto? | Lubitsch, Alcaine y los fondos rotos

Are we showing the viewer too much? In this excerpt from the live stream dedicated to To Be or Not to Be (1942), Iria Ares and Daniel Tubau reflect on a fundamental aspect of cinematic language: depth of field, composition, and the viewer's active role within the image. Using a scene directed by Ernst Lubitsch and photographed by Rudolf Maté, we analyze how classic cinema used space, different visual elements, and mise-en-scène to tell several stories simultaneously. Why do we find so many films with blurred backgrounds today? Are we losing our ability to construct complex images? Is the viewer's participation in the narrative diminishing? The conversation also connects with a reflection by cinematographer José Luis Alcaine on some of the most significant changes that contemporary cinema has undergone. 🎬 An excerpt from Conversations on the Cinematic Eye. 📺 On our channel you'll find: — Classic cinema and film language — The Lubitsch touch and the great masters of cinema — Directing, cinematography, screenwriting, and acting — Conversations with filmmakers, writers, and creators — A Hispanic community that loves film and free thought 👤 Featuring: Iria Ares Daniel Tubau 📲 Follow us on social media: Instagram: @estudo_momento Facebook: Estudo Momento TikTok: @estudo.momento 🌐 More content at: estudomomento.com #Lubitsch #DanielTubau #IriaAres #ClassicCinema #FilmLanguage #JoseLuisAlcaine #DepthOfField #Cinematography #ToBeOrNotToBe #EstudoMomento