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THE FILMIC COMPONENTS IO5
may want to indicate a fleeting expression in the eyes, or point up a wart on the nose, or a mystery-story clue, or even show a thumbprint. In such cases, he would resort to the extreme close-up.
This device was used in an amazingly effective manner in the Czech film Ecstasy. By means of an extreme close-up of the girl's lips as she entered her lover's cottage, the audience was able to sense the heat of her passions by the manner in which the skin of her upper and lower lips adhered to each other and then separated almost reluctantly.
Care must be taken, however, that such shots be used sparingly. If overused, they will lose their shock value and thus lose dramatic impact. The same injunction should be applied to the use of ordinary close-ups. Their use should be timed, and they should be integrated into the script as a whole so that, with building, the full effect of their dramatic possibilities can be realized. When such extreme close-ups are used in television pictures, they should always be followed by a re-establishing larger shot to reorient the audience.
Moving shots
So far, the discussion of camera usage has been confined to static shots, in which the camera holds on a subject which is at varying distances from the camera, to obtain varying effects on the screen.
These static shots, however, can be combined with certain camera movements to obtain even more effective results. But before going into detail about these moving shots, it is necessary to giwG the following warning, which will be repeated again and again:
The camera should be moved only when there is a definite reason for doing so!
One of the most frequent faults found in live television programs is the overuse of unmotivated pan and dolly shots. This occurs because the basic scenes have not been previsualized by the writers for intrinsic action. With this conception of action lacking, television directors are forced to fall back on the surface action of unmotivated pan and dolly shots. A study of the following material should show how this error can be avoided in television films.
With these words of caution, we shall go on to what is perhaps