The Kuleshov Fallacy
The face has long been regarded as one of the major weapons in the arsenal of cinema—as a tool of characterization, a source of visual fascination, and not least, as a vehicle of emotional expression.
Smile like you mean it
“With a camera you can go into the stomach of a kangaroo,” mused Swedish director Ingmar Bergman. “But to look at the human face, I think, is the most fascinating.” It is hard to contest Bergman’s claim that “the great gift of cinematography is the human face” – or at least that it is one such gift.