A grammar of the film : an analysis of film technique (1950)

Record Details:

Title:
A grammar of the film : an analysis of film technique
Date:
1950
Publisher:
Berkeley : University of California Press
Volume:
A grammar of the film : an analysis of film technique
Leaf #:
000179
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
August 22, 2024
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Optical Distortion neck, and the image of tyranny was again complete. Where, in general, it is intended to demonstrate the restoration of what once was shattered, this is no doubt a valuable weapon; but it must be remembered in a limited field such as this that ‘To-day’s innovation becomes to-morrow’s cliche, and the day after to-morrow’s joke’. 23. Similarly, the resources of optical distortion can be used guardedly, and may be easily abused. Instances, however, are gratifyingly rare. The dismay of the bankers at the Wall Street collapse, following the unprecedented boom in which their fortunes had been made, was represented in The Conquerors by a sudden falling away of the lower parts of their faces; the effect, which sounds merely ridiculous in words, was exceptionally graphic in a short shot. In Uberfall (Metzner, 1929), the recovery of a man after an accident was shown by distorted shots of the incidents which preceded it; in Brumes d'Automne (Kirsanov, 1929), the despair of a woman who had lost her lover, by dim, drawn-out shots of the river beside which she wandered. The general tendency, it will be seen, is to try and penetrate into the subconscious and the fringes of the conscious by a confused mistiness and distortion of images; this, of course, has the approval of the surrealistes, in whose films a valuable adjunct is exalted until it dominates the whole. The splitting in half of the priest’s head 167