"Cut" is the real secret of shots.
... cinema3.vodpod.com :
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.
Film Directing 101
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!
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
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!
New Page for 1999-2000Film & Drama Class could use it, but it's developed for Film Directing class of 2000.
Affiliated pages:Semiotics Semio2Cut 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.[ in class watching/counting cuts only -- samples : filmplus.org/video ]
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
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
Subject Continuety[ textbook ]
Complexity Editing = MontageDialectic Principle
More in Montage
[ For use of CUT in Virtual Theatre see vTheatre and/or vFilm pages! ]
projects: Demons: Dostoevsky, Camus & Me -- War of Terror
texts: HIM web-biography
in focus: filmmaking 101
BioMechanics 2009 cine101 LUL
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Copyright © 2007 by filmplus.org. Permission to link to this site is granted.
my books.google.com + scholar.google.com * eCitations *
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