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.
X EDITING 118
Inevitable interpretation; When the scissors lie; Pictures have no tenses; Time in the film; Time as theme and experience; Continuity of form and atmosphere; Creative editing; Idea-associative editing; Flashbacks; Metaphorical montage; Poetic montage; Allegoric montage; Literary metaphors; Associations of ideas; Intellectual montage; Rhythm in montage; Speed in action and speed in cutting; Scene in ritardando, shots in accelerando; Length of shots; Rhythm of the sound film; Musical and decorative rhythm in cutting; Subjective cutting; Walking; Sport in the film; Inexpressive sport.
XI PANORAMA 139
Experience of time; Dramatic quality of panorama.
XII EXPRESSIVE TECHNIQUE
OF THE CAMERA 143
Fading; Secret of the diaphragm; The camera shows invisible things; Time perspective; Psychology of the dissolve; Time and sequence; Picture size and dissolves; Dissolves and simpler stories; Dissolves and the linking of space; Narcosis; Changes of scene without movement; Dissolve and mental picture; Photographed curtains.
Part II
XIII PROBLEMS OF STYLE IN THE FILM 155
Pure cinematography; Films without story or hero; Film without a hero; Travel films; Instructional films which have a hero; Unknown proximity; News films; Epics of labour; Showing man; War films; Nature films.
XIV FORMALISM OF THE
AVANT-GARDE 174
Absolute film; Epistemology of aesthetics; Appearance of the outer world; Internal affairs; Conceptual films; Logic is the means, psychology the end; Surrealist films; Abstract film; Sound abstraction; Film sub-titles; False analogy.