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

Page scan 000186 from A grammar of the film : an analysis of film technique

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 #:
000186
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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Film Technique : 1. Analysis not be reached between persons on the category in which a given sound is to be placed, one contending that certain music is no more than noise, another that a certain noise is music, a third that speech is unintelligible and therefore natural sound, while others disagree with all these opinions. To the first difficulty, it must be replied that some classification is better than none, and that a crystallization into groups does no harm as long as the really continuous nature of the phenomena is constantly borne in mind. And to the second, that analysis, if it is not to become excessively cumbrous, must presuppose agreement over the greater part of the field, leaving marginal and less important cases to be dealt with afterwards. 28. These considerations apply also to the further classification of sounds, which is assisted by distinguishing two main scales of forms. These are realistic— non-realistic and parallel — contrastive. The first scale may be divided into two sub-scales, the numerical and the intensive, and each point on either sub-scale may, with certain small qualifications and approximations, be sharply divided into a contrapuntal and a non-contrapuntal use. We shall first explain this method of classification and then proceed to exemplify it. The limit of realism is reached when numerically all the sounds heard by the audience originate, or are believed to originate, 174