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 #:
000259
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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The Combination of Montages insatiable desire for display and tyrannous power. After a time, as he had anticipated, his subjects rebelled; but he had made secret arrangements for a sudden departure, and started with complete confidence to put them into practice. The rebels, however, were determined to capture him, and to this end they beat a large drum in slow, monotonous rhythm to accompany him, though far away, as he passed through a forest to the sea. Here began the last and most important sequence, which ran for more than fifteen minutes. It was initially marred by a yellow-green coloration of the film (supposed to indicate moonlight), and a forest of the most unconvincing artificiality; so that, in the words of a critic, it resembled ‘a conservatory in a second-rate hotel’. But these were minor blemishes compared with the faulty technique employed. The purpose of the sequence was to show the negro’s gradual descent from the pride of the imperial uniform and majesty to the cringing terror of a savage. Past incidents in his life haunted his mind: the game of dice at which he had killed his friend, the chaingang he was condemned to work in; and he sought escape from these memories in recalling the Baptist church which he had attended in his early years. Each of these memories came to life in a small medallion, set in the middle of a bush or in an apse of the forest. The emperor recoiled in terror, and 235