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

Page scan 000254 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 #:
000254
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Film Technique : 2. Synthesis death in an audible voice, the noise of muskets raised to the firing position, and the final roar of their discharge, were all anticipated and produced scarcely any effect. Hence the benefits of simultaneous montage would have been practically a clear gain; for the contrast of the ignominious decline of the rebellion, and the total failure of its leaders, with the increasingly triumphant strains of the song, would have evoked with the utmost brevity and force the other contrast of a people at present and by weight of numbers defeated, but unbowed in spirit to Napoleon, cherishing the memory of their heroes, and ready to lay dowrn their life for the freedom of their land. Whenever two separate and therefore contrasting issues are to be presented together, this method offers itself to the director. The research and experiment which wrere devoted to the silent film are now seen not to have been wasted; for they were largely directed at discovering visual counterparts to sounds, so that the absence of the sounds themselves should not be regretted. Simultaneous montage is the copresentation of twro entities: a silent film, built in the proper manner to provide primary, rhythmical, implicational and ideological montages, and to dispense with sound; and a sound score, composed of speech, natural sound or music, having an independent existence. These entities, though analytically they 230