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Jour apres jour: a visual-acoustic tone poem
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Pas de deux: dance and the optical camera
52 / Cinema Canada
sequences in a such an order that the final film will grab and involve the audience. Strangely enough this is an element of film esthetics rarely mentioned in film literature and yet it is the one step that most clearly makes or breaks a film. In looking at the structuring of a film, one examines it almost like a piece of music detailing its various build-ups, climax points and rest points. All films can be graphed in this particular way but for teaching purposes, it is wise to use simple and straightforward _ short films. Corral is again ideal in this respect but other films that can be looked at in this way are Judoka (18 minutes, B & W) a film about a Canadian judo champion in Japan and Nahanni (18 minutes, color) a short, very gripping film about an old prospector’s tireless search for gold. All three of these films have clear strong structures which contribute very directly their final effect. Finally, not to be overlooked in this connection is Arthur Lipsett’s Trip Down Memory Lane (13 minutes, B & W) a collection of stock shot sequences which works purely on the level of structure and editing. The film is strange, gripping and moving, without making the least bit of sense.
Special Effects
The National Film Board is big on special effects and almost every type
‘has appeared in one or another of
their films. Volleyball (10 minutes,
-B & W) makes very effective use of
the technique of freeze framing and repeat frame printing (to give a slow motion-like effect) as well as actual slow motion to study the movement of several teams of professional volleyball players. Sky (10 minutes, color) uses time-lapse photography to show rapidly moving sunrises and sunsets as well as a marvelous ballet of moving cloud formations. Pixilation, the frame by frame animating of static objects, is well demonstrated in many of Norman McLaren’s films. A Chairy Tale (10 minutes, B & W) has a youthful Claude Jutra doing battle with a chair that refuses to be sat upon. Someone is skating on the back lawn in Two Bagatelles (2 minutes, color) using this same technique. Pas de deux (13 minutes, color), a dance film by McLaren, shows with great beauty what you can do with multiple superimpositions in the optical camera. Finally films like Carrousel and Angel (both 8 minutes) are exercises in the photographic color shifting of ordinary images. While the impor