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 #:
000194
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 meaning to the audience. The second connection is no less false. It frequently happens that at a particular moment it is only desired to present a single strand of meaning. We have already described how the camera may give a neutral rendering of a scene while the microphone, by selection and suppression, conveys the individual attitude of some one person present; or, an extension of this, the camera does not attempt neutrality, but expresses with the aid of differentiating factors the attitude of another person. This process necessarily involves a division of attention in the spectator, and a consequent loss of concentration upon each part of the theme. If, however, it is of essential importance to emphasize one such part, every other channel of communication must be stopped. This is the case of perfect parallelism;1 and that it is required even by the most advanced directors is shown by its frequent use in Deserter. The opening words of one of the platform speakers were matched with a shot of the man himself; the suave, complacent gestures of the policemen with waltztime music; the hoisting of the workers in the last moment of the last sequence with the final triumphant strains of the march. Thus where realism, even when contrapuntal, would introduce an un 1Perfect, that is, subject to the qualifications mentioned above. 182