David Bordwell (2012) notes a chess motif in the mise-en-scène of Tinker Tailor Soldier Spy (Alfredson 2011), connecting the film’s aesthetic to its espionage theme. This article develops Bordwell’s idea to argue that the motif of the grid or box is a common one in espionage thrillers in cinema and television. The article demonstrates how setting, set design and camerawork intersect to underpin narrative structures and visual metaphors. It connects production site to construction of onscreen space to consider the visual style and metaphoric function of these Cold War spaces on screen. The article concludes that a stable Cold War “chronotope” informs these screen productions, with the mise-en-scène permeated by the motif of the grid or box. Case studies include The IPCRESS File (Furie 1965), Tinker Tailor Soldier Spy (Alfredson 2011), and The Game (BBC 2014).

中文翻译：

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“伟大的游戏”：冷战屏幕空间中的网格和盒子

David Bordwell (2012) 在 Tinker Tailor Soldier Spy (Alfredson 2011) 的布景中注意到了一个国际象棋主题，将电影的美学与其间谍主题联系起来。这篇文章发展了波德威尔的想法，认为网格或盒子的主题是电影和电视间谍惊悚片中的常见主题。文章展示了布景、布景设计和摄影作品如何相互结合以支撑叙事结构和视觉隐喻。它将生产现场与屏幕空间的构建联系起来，以考虑这些冷战空间在屏幕上的视觉风格和隐喻功能。文章的结论是，稳定的冷战“计时表”为这些银幕制作提供了信息，网格或盒子的主题渗透了场景布置。案例研究包括 IPCRESS 文件 (Furie 1965)、Tinker Tailor Soldier Spy (Alfredson 2011)、