The technique of film editing (1958)

Record Details:

Title:
The technique of film editing
Date:
1958
Publisher:
London : Focal Press
Volume:
The technique of film editing
Leaf #:
000226
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
August 15, 2024
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r at 1 F/gure 4. //o faces in the same direction as /. lib makes a slight change. The same angle or a marked change is to be preferred. Preserving a Sense of Direction In discussing the battle scenes from Birth of a Nation, we noticed that Griffith took the greatest care to show each opposing side always facing in a fixed direction. By doing so he was able to preserve a lucid continuity because the spectator came to recognise that one side was advancing from left to right, the other firing from right to left. Wherever two opposing forces are shown on the screen and a sense of contact between them is to be established, then this clear directional continuity must be preserved. We have already seen in the extracts analysed in the previous section how close shots of two characters in dialogue scenes are made alternately to face left and right (e.g., 17 and 18 in the extract from The Passionate Friends on p. 93 and the whole series of alternating close shots in the montage passage from Citizen Kane, on p. 1 17). In practice, the problem of making adjacent close shots face in opposite directions is illustrated by Figure 5. Shot / establishes that the characters A and B are facing each other. Where two 222