International photographer (Jan-Dec 1935)

Twenty-eight The INTERNATIONAL PHOTOGRAPHER January, 1935 RELATIONSHIP BETWEEN CONTINUITY AND CUTTING (Continued from Page 11) force in the field of rhythm. Every day fine examples of rhythmic continuity blended by music and the dance are brought to us in the local theaters. This source of rhythm is one of the three at your disposal. Two other types of rhythm also help us as a unifying force — rhythm in the material, and rhythm through the metrical relationship of the film strips. Many directors use the rhythm of their photographic material — the plunge of the drive rod on a locomotive, the eternal beat of the sea, the surge and fall of a canoe under the impulse of a paddle, the clank of the hammer as the chain gang foreman sets the pace for the gang on the rock pile — to unify the various angles shot of the subject. As long as the beat is there, either on the sound track or in the movement of the material one may be relatively free in his selection of angles and in their conjoining. Many directors develop a metrical relationship between the film strips in order to unify their various shots. These relationships form an abstract type of filmic rhythm that is applicable to some scenes and situations. It is an entirely synthetic rhythm but is often a strong and powerful method of cinematic presentation. In using any one of these three sources of rhythm it is often only a slight step forward to combine two and possibly all of the three in doing a scene that calls for the rhythmic type of continuity. Mickey Mouse cartoons, which are the rhythmical pictures of the day, employ all three sources in every film. II. IMPRESSIONISTIC AND IDEOLOGICAL In which the whole is represented by its symbolical parts. In which the impression of a murder scene, for instance, is carried out in shadow, in a close up of a hand holding a gun — of unloosening fingers sliding from the arm of a chair. In this type of continuity the shots are unified by the idea behind the montage of shots — MURDER. We may express joy, sorrow, etc., in the same manner, unifying the components by the major meaning behind a continuity. III. PHYSCHOLOCICAL In which the associational forces of the mind serve to tie up the shots. In using this type of blending force we have at hand these resources: A. Contrast and Comparison 1 of idea 2 of visual pattern 3 of space 4 of light and shade B. Symbolic Intercuts C. Eisenstein's principle of Dialectic, or Epic Montage. In which the two film strips to be conjoined always represent opposing forces out of the superimposition of which there is formed a new concept, or overtonal idea. With these various blending forces in mind we can go back and consider the problems of plotting and developing the Action Continuity. By the time the story is finished you will doubtless have blocked out in your mind much of the important plot and character material which should run in the closer shots ; you may even have numerous angles and movements in mind — even partial continuities here and there. These thoughts and a few observations about your story which will be discussed in the following paragraph must serve to rough in your Action Continuity. For plotting or keying, action superficially, a chart (or floor plan of each scene or portion of a scene) upon which is worked out the movements of the material and the placure of the camera in relation to each shot is very handy. In order to develop this chart the points of the story for which you have aready conceived some cinematic treatment may be set down for a beginning. Beyond this there are three points which, when thought out, completely skeletonize the Action Continuity : I. First of all there are inevitable moves which are demanded by the story or the properties to be handled: an entrance or exit, answering a phone, pouring tea, going to the window — all are moves dictated by the plot. II. Next, and very important, are the moves motivated by the emotional impulse within an actor. III. Third comes the embellishmental moves. These are created by the director or the continuity man to keep the action interesting and life-like. A scene can be played on a divan or at a table and be true to life; but generally, because a picture is so compact, 90 percent of the scenes in a script would call for the characters sitting or standing still and talking. Within one picture many scenes of this type would bore the audience and make the picture pepless. So we must invent clever movements which conceal their purpose, and through them keep the scene alive. In doing this you make possible interesting, even artistic, compositions and movements within the frame; you give yourself much more room for effective dolly shots and panning, and you can shoot more and better angles. This is not improper because the moving picture is now and forever more better than 50 percent an appeal to the eye. Coincidental with the Action Continuity will appear a Camera Continuity. The angle and position of each set up will be indicated and numbered on the chart. At the side, after each set up number you may explain the lens to be used, the height of the set up and any information which strikes you as special to the particular shot. The steps gone through between the story writing and the shooting are what might be called the Architecture NEW TYPE FLOOD LIGHTS For Use With Fotofloods Extremely Powerful Flood or Spot Come in and see them — or write for details. CAMERA SUPPLY CO. Cable Address "CAMERAS" 1515 Cahuenga Blvd. Hollywood, Calif. 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