French Impressionist Cinema: Film Culture, Film Theory, and Film Style (December 1974)

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MN Oo Sr ee. (cu) Light on waves, as 18. Of Orit: 25. (ls) Trees against sky, as 20. A ac fe 24. (1s) Water, clear sky, and wind. Batie.: PF 25. (cu) Hand strumming, as 6. f See lee iy 26. (cu) Waves, as 14. Ti trie C" e(s (18) Water, aa 2u-, We i yas (1's) 28. Sky, horizon dark. 160 Pree Apart from the specific content of the interspersed shots-which makes them not only atmospherically evocative but dramatically and thematically significant in the film aS a whole--the pattern of the editing follows a strict tempo, breaking the shots into Sets. We see sets ofr three shots of roughly uniform length which are followed by a single, lengthier shot. Here are the sets and the respective lengths of the shots: 1. Shots 2-5 (33-36 fr. each). ABAC e. Shots 6-8 -(17 fr. gach. A'CD 3. Shots 9-11 (7-8 fr. each). A'CD st ove seme oe (23 be gee aN E S.* Bhate 13453 4:7 -B: fru each). ANCE 6. Shot 14 C25 Ee hy EF in Shots 17-19 (5-8 fr. each). Aad C'"E* o. Shot 20)(24 fey, D 9. Shots 21-23 (5-8 fr. each). AtC'D* $0 c0 Sie. ae (24 Lay ND F 14. Shots 25+27(67) fr. each). A'C'R 12.) SROb 26° 086 bb st G Thus the sequence begins with three Successively shorter Sets of shots (sets 1, 2, and 3), then continues with a pattern of yet shorter sets (sets wr aa Ae” Gece os A eh Ug ee Pupved by single shots (sets 4, Oy Oa 2, eee te a rts ee the latter being of almost exactly equal length, except for the concluding set 12 (shot 28) which is almost exactly