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 #:
000192
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
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Film Technique: 1. Analysis the remainder of the noise will again disappear, just as a known face in a crowd can be followed with the eye, while all else becomes blurred. There is thus a close parallel between visual and aural attention; sometimes it is better to make sight more objective than sound; sometimes the reverse. Owing, however, to the superiority of sight over sound in rendering simultaneous phenomena, the former arrangement is as a rule to be preferred. The subjective camera, unless handled with great skill and restraint, is likely to lose its way in vague romanticism. Hence there is a strong case for free selection of sounds, the bearing of which on montage will be discussed in the next chapter. 32. The second main scale, parallel — contrastive, is much simpler to deal with. The sound factor and the visual film may be used to present or evoke different concepts and emotions, the purpose of this divergence being more fully explained in the next chapter under the title of simultaneous montage. Sound and sight are said to be parallel when the two parts of the total film convey only a single idea, so that the one directly reinforces the other. The question of the precise limit in this direction is difficult to determine. Mr. Clive Bell contends that two artistic media cannot convey exactly the same impressions; and if this be true, the limit will be approached asymptotically and never reached. It seems evident 180