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2. THE CINEMA SHOT
By the cinema shot, or the editing unit in cinematic construction, we mean that specific single element in the film which, conditioned by the scenario content, makes a separate and indivisible contribution to the film construction in the course of editing.
In addition to the definition of the shot as an element in creative production, the terms ' set-up ' or ' cameraangle ' are also applied.1 But these are purely technical conceptions.
At various stages of the production process the shot is of varying importance. In order approximately to elucidate the conception of the ' shot ' according to its content, we will consider a brief example of the way in which the thematic task is developed and carried through to the point of the camera-man's treatment of the scenario.
We will assume that we are set the task of presenting the scene of Brutus murdering Julius Caesar. For simplicity in exposition we deal with a very short episode, which will enable us to develop our task in a narrowly thematic and primitive form.
We can formulate the action in words, as : " Brutus strikes Caesar a blow with a dagger ". Let us assume that this is to be the content of a single scenario shot.
In the hands of the director the subject is given a definite tendency. He selects the most typical, characteristic aspects, and decides upon the situation in which the action is to occur. From the various possible actor's methods he selects the variant affording maximum expression in correspondence with the given theme and situation. Thus we obtain the directorial plan of the treatment, which lays down exactly where, in what circumstances, when and how Brutus is to kill Caesar. The directorial treatment of the scene includes both the scheme of spatial organisation and the scheme of temporal organisation of the action. And so we are provided with the director's shot, which is to be staged and filmed.
Now we are faced with a further task. The director's shot has to be translated into terms of representation. We have to plan the details of and then create the visual image which will express the directorial treatment of the episode.
We have already remarked that the representation of the object as fixed on the film is never identical with the facts of the object as directly perceived. Only
1 ' Set-up ' as equivalent of ' shot ' refers to the fact of unique setting-up and erection of camera position (including its movements) for each particular shot. ' Camera-angle,' similarly (in this case meaning the visual field embraced by the angle of the lens [L.S., M.S., or C.U.] in each given set-up) is also used in English as equivalent to ' shot '. The author here often uses in Russian the word ' frame ' as equivalent for ' shot ', deriving from the compositional conception of given frame limits resulting from each set-up. In English, however, this word is so regularly restricted to the single static picture resulting from a single photographic exposure and of which many hundreds may go to form a ' moving ' shot, that, to avoid ambiguity, in this translation we have used ' frame ' only in this sense or where its implication as physical limit of the composition is quite obvious. — Ed.
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