* 2007-2009
"Cut" is the real secret of shots.
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If you know how to cut, you know how to shoot.

... cinema3.vodpod.com :

alternative to youtube.com

...



subjects : composition * shot + shot * CUT * light * sound * color * montage + mise-en-scene * movies & films *


TOPICS: drama + comedy + postmodern + time + space + death + self + imdb + history + scripts + amazon.com/kindle
Так же, как прямым «языком» режиссера театра является мизансцена, «языком» режиссера, работающего на экран, является монтаж. *
[Eisen] language of of theatre director is mise-en-scene, language of film director -- montage.

Andrey Tarkovsky

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Sight, Sound, Motion: Applied Media Aesthetics Developed at San Francisco State University, this textbook isolates the five fundamental image elements of television and film--light and color, 2D space, 3D space, time/motion, and sound--examines their aesthetic characteristics and potentials, and structures them in their respective aesthetic fields. The fourth edition adds sections on inductive shot sequences, electronic cinema, and alternative storytelling techniques. ***

«Монтаж – это скачок в новое измерение по отношению к композиции кадра», - С. М. Эйзенштейн.

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Cut = an instanteneous change from one image to another.

Good (smooth) and bad cuts.

Continuety (vector fields)

The Dissolve

The Fade

Wipe

Jump Cut

See Camera


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Summary

[ this page has many brothers and sisters: see editing, edit, cutting -- and even half-brothers, like "montage: a lot of relatives! ]

Questions

Search The Internet Movie Database
Enter part of a movie or TV quote and click "Go" to search the quotes at imdb.com.
 
goto : tarkovsky.wetpaint.com wiki
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Notes

"Between shots": analysis of cuts only (structuralist approach).
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... best cut (poll) ?

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... a few (more) words in russian :

Eisenstein --

Эйзенштейн любил цитировать Пушкина:

«Выходит Петр (общ. пл.).

Лик его ужасен (кр. пл.).

Движенья быстры (ср. пл.).

Он прекрасен (кр. или общ. пл. – зависит от акцентировки).»

*


Наше зрение не признает панорам. Взгляд перемещается с объекта на объект или переводит фокус резким скачком. Раскадровка только воспроизводит этот принцип. И расширяет его, позволяя перебрасывать взгляд без ограничения в пространстве и времени – визуализируя процесс осмысления увиденного.
«Основное психологическое оправдание монтажа как способа изображения материального мира в том именно и заключается, что он воспроизводит процесс, происходящий в нашем сознании, при котором один зрительный образ сменяется другим по мере того, как наше внимание привлекает та или иная деталь нашего окружения». Э. Линдгрен.

... Первое отличие монтажного языка в том, что все глаголы в нем существуют только в настоящем времени. Именно поэтому это наилучший способ их употребления и в сценарии. На экране все существует только «здесь и сейчас». Ведь чувствам и эмоциям зрителя, к которым, прежде всего, и апеллирует экран, совершенно не важно, снимался материал неделю или век назад, или идет в прямой трансляции. Он видит это сейчас. А для чувств и эмоций, в отличии от интеллекта, «вчера» не бывает. Мы не можем радоваться, возмущаться, любить или плакать «вчера» или «завтра».

Второе отличие – в этом языке не существует ни одного отвлеченного понятия. Как снять понятие «хорошая книга» и чем она будет отличаться от «книги плохой»? Переплетом? Или фамилией автора и названием? Но для этого не только режиссер, но и зритель должен знать содержание этой книги.

А. Каминский : МОНТАЖНЫЙ ЯЗЫК

**

... * Язык монтажа, ближе к английскому, чем к русскому языку, в том смысле, что для понимания смысла монтажной фразы порядок кадров имеет принципиальное значение. Перестановка кадров может не только сместить акценты, но и поменять смысл монтажной фразы, вплоть до противоположного.

...

2004:
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Cut!

Students: you MUST write, shoot, direct and edit your first film!
Did you read Montage page? Good. Now more about Kuleshov Effect!
First about this scream "cut"!

Eisen always insisted that that power of montage is in the Scissors! "The essence3 of cinema does not lie in the images, but in the relation between the images!" (FW p.62) "The Inventive Scissors"

Without cut the cine-language won't be possible. "Filmic wrioting" must be seen in combination of cuts and shots. Only because of the two cine-sentence can be constructed and cine-grammar exists.

In fact, in dichotomy of cut/shot is the fundamental visual conflict (motion picture's effect is based on frames being "cut" from each other). Bergson (later Deleuze) speaks of the nature of duration and repetition. Eisen's favorite dialictics can be apply here. The synthesis is the third stage, which is born out of conflict between shot and cut, image and blink, light and darkness...

Real filmmakers know this secret -- they study CUTS.

I advise my students to force themselves to watch "cuts only" and get use to notice the unnoticable. I asked them to count cuts in commercials (homework), to examine each cut, put cuts in progression -- I ask them to see the logic of breaks!

Pauses? Punctuation?

See various cuts on the right. This primitive (elemental) feature of film is resposible not only for language, but tempo-rhythm -- and, yes, the style!

CUT is ACT! Stopped ACTION? Blocked vision at the moment when you are ready for more! CUT is not seeing in combination with the shown!

More in Montage

Bergman's CU #4 Bergman's CU #2

Two-shots?

Before we start with a simple 3-shots storyboard, notice that we always have something in between...

shot #1
shot #2
shot #3

I left shot#2 blank, because it's an invisible shot, which we usually call "cut"!

If you keep remember that cuts link shots, it'll be easy for you to see how montage works.

[ this page must be linked to film analysis directory @ film.vtheatre.net ]
shot #1
shot #2
shot #3

This black (or white) shot (cut) is the biggest secret in film-making. Turn your narrative into drama: let the cuts narrate! (Advise from David Mamet, read him small book on Film Directing). Not on acting!

Commercial Archive: Place to Learn!

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New Page for 1999-2000

Film & Drama Class could use it, but it's developed for Film Directing class of 2000.

Affiliated pages:

Semiotics Semio2
Cut belong to the "atomic" structure of film language. In fact it's build in as a phenomena of motion picture (24 frames/sec). Cut is blink! We have to blink in order to see. See POV on more on philosophy of SEEING.

Notice the difference between traditional and electronic technics.

Next: 4th Field: Editing

[ thinking in "cuts" ]

Motion -- Cut -- Editing

1. Continuety Editing
2. Complexity Editing (intensification of an event)

Continuety of Vector Fields

Graphic Vector Continuety

Index and Motion Vector Continuety

Directional Change

Converging Index and Motion Vectors

Crossing the Vector Line (placing the cameras on both sides of the vector)

Z-Axis Position Change

Establishing the Vector Line

Index v. Motion Vector Line

Zero Vector Camera

Z-Axis Camera

Subject Continuety
[ textbook ]
Complexity Editing = Montage
Dialectic Principle

More in Montage

[ in class watching/counting cuts only -- samples : filmplus.org/video ]

[ For use of CUT in Virtual Theatre see vTheatre and/or vFilm pages! ]

...

SHOT page

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