Why do we see "Accidental Renaissance" in Zack Snyder's "Justice League"?
If you understand art or simply enjoy it and have already watched the director’s cut of Justice League, many of the film’s shots have probably seemed familiar to you. More precisely, they may have reminded you of wonderful examples of famous paintings.
The term “Accidental Renaissance” emerged several years ago and refers to contemporary photography whose composition unintentionally resembles works by the great masters of the past. However, since the art world is very diverse and genres are constantly interacting with each other, we can encounter this accidental Renaissance not only in photography but also in cinema.
The term “Accidental Renaissance” emerged several years ago and refers to contemporary photography whose composition unintentionally resembles works by the great masters of the past. However, since the art world is very diverse and genres are constantly interacting with each other, we can encounter this accidental Renaissance not only in photography but also in cinema.
This may be partly due to the fact that slow motion is one of the director’s favorite techniques. It is hard to name another filmmaker who savors every shot in slow motion the way he does. This creates a sense of theatricality, performance, and attention to detail. A series of such shots allows the viewer to perceive the image as fully as possible.
Another highlight of the film is its composition. In each shot, Snyder, like the greatest painters, assigns a specific place to each character, which enhances the overall effect and impact on the viewer. Within these shots you can find both compositions with a clearly defined focal point and those based on symmetry, balance, and the golden ratio. These techniques bring cinema even closer to painting.
Another important aspect of Snyder’s work is the use of light and shadow, and more specifically their interaction. As in Caravaggio’s canvases, the characters are either illuminated by light or swallowed by darkness.
Another important aspect of Snyder’s work is the use of light and shadow, and more specifically their interaction. As in Caravaggio’s canvases, the characters are either illuminated by light or swallowed by darkness.
This play with painterly effects becomes clearer when we look at the director’s background: Zack’s mother was an artist who taught photography and instilled in her son a love of art, and Snyder himself studied painting in London in his youth. At his core, Snyder is an artist who picked up a camera; his canvas is the film strip, and instead of paints and brushes, he has an outstanding cast.
