I’m taking back the crown
I’m gonna gush about American Gods some more. Aren’t you excited?
As I’ve written before, the use of a visual medium for American Gods is amazing.
There’s a lot of framing and perspective shots, especially when it comes to Shadow.
Like, A LOT.
I’m not kidding. I’ll refrain from putting them all in. This one also uses scale to excellent advantage. These shots, especially the third, are all designed to show how utterly screwed, alone, and out of his depth Shadow is. A human caught in a conflict between New Gods and Old Gods. The third shot also uses light to make him into a shadow, like his name, and bringing attention to the limo of the world’s biggest douchebag. The first shot, down the ‘mouth’ of an alligator works especially well for Shadow’s meeting with Wednesday, who really is preying on Shadow in a way. And there really is the danger of literally being eaten.
I lied, one more. Shadow looks super uncomfortable, doesn’t he?
And here is Anansi, in a very modern suit, framed by a Dutch slave ship. It’s such a good scene. This is a largely self-indulgent shot.
The show uses visual contrast a lot, whether it’s with lighting, colors, or wardrobe and scenery. All of the characters are huge personalities, larger than life in their own ways, even the humans. The cinematography is used to give them each their own spotlight, with lighting, framing, and perspective.