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 #:
000253
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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An Example valiantly singing their song, marched at the head of the peasant forces, ascending along the rim of a distant cloud, until finally, as the song swelled to its conclusion, they disappeared into the skies.1 The noble devotion of the Bavarians, which had previously been well conveyed, conflicted strangely with the crude conception of spiritual values revealed by the final shots 5 but though montage of a sort in consequence took place, it did but demonstrate the contradiction of outlook which different parts of the film displayed. Had the principles of simultaneous montage been firmly grasped, the following method would have shown a way out of the difficulty. The capture of the rebels would have coincided with the first faint strains of the marching song, which would have increased in strength while the men were led out to die and the firing-squad trained their rifles upon them. As they fell to the ground, the song would rise to its climax, seeming to come from a great concourse of Bavarian peasants, and the film would end. First, to remove an initial objection: where the action is so familiar and clearly understood, there is no need of natural sound; the reading of the sentence of 1See also the end of The Three Musketeers ; and of The Mystery of Life , wherein a number of nude figures, decorously fuzzed, were to be seen propelling one another along a rocky path, scrambling upwards to a Humanist Heaven. 229