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 #:
000241
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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Content and Cutting prising to those who have studied paintings more closely than film shots that full effect should be shown as occurring at the most only a few seconds after first presentation; full understanding of a painting might never be reached, however long and attentively it was looked at. It is the object of the shot to be contributory, not self-sufficient. The larger wholes, from whose amalgamation the final film emerges, owe their existence to the multiplicity of the shots which compose them. Each shot therefore adds only a fragment of effect to the total — a fragment which results from its context, its content and its cutting. The two curves of content and cutting may now be combined for some particular material. There is only one curve of cutting-tone, (pit), for this curve relates, as was shown, to the limiting case in which the effect of the content has been reduced to zero. Its value for a given time of shot-projection, shown in seconds on the z-axis of Fig. 4 and proportional to rate of cutting, can legitimately be considered constant over any length of time for which this rate of cutting would normally be used. For we have argued that two factors operate, one in the accumulation, the other in the restriction, of cutting-tone, and that at the beginning the first preponderated, but afterwards the second. The restrictive factor takes effect more quickly in the case of short than of long shots, for it depends on a successful anticipation of the 217