Figures

1.1The formalizing function of the frame in Citizen Kane
1.2Frame as window in Gladiator
1.3The x,y,z coordinate system applied to the film frame
1.4Horizontal graphic vector
1.5Index vector of a fire hydrant
1.6Index vectors: skull
1.7Oblique z-axis “motion” vector
1.8Low magnitude graphic vector: Brooklyn Bridge
1.9High magnitude graphic vector: Brooklyn Bridge
1.10Dominant z-axis vector
1.11Continuing graphic vector outgoing shot . . .
1.12Incoming shot
1.13Discontinuous graphic vector outgoing shot . . .
1.14Incoming shot
1.15Continuing index vector outgoing shot . . .
1.16Incoming shot
1.17Discontinuous index vector outgoing shot . . .
1.18Incoming shot
1.19Continuing index vectors in Maltese Falcon. Last frame outgoing shot 1 . . .
1.20First frame of the incoming shot 2
1.21Maltese Falcon: shot 3 reverses the angle
1.22Maltese Falcon: shot-reverse shot: outgoing
1.23Maltese Falcon: shot-reverse shot: incoming
1.24Diverging index vectors: Shop Around the Corner
1.25The 180° rule
1.26The Shining: crossing the 180° line, outgoing shot . . .
1.27The Shining: incoming shot
1.28Establishing shot from Argo
1.29Argo: over-the-shoulder shot from “across the axis”
1.30Argo: over-the-shoulder shot from “across the axis”
1.31Argo: two-shot “re-establishes”
1.32Argo: continuing motion vector outgoing shot . . .
1.33Argo: incoming shot
1.34Gone with the Wind: converging motion vector outgoing shot . . .
1.35Gone with the Wind: incoming shot
1.36Moonrise Kingdom: converging motion vector outgoing shot . . .
1.37Moonrise Kingdom: incoming shot
1.38Ferris Bueller: cutting from a “zero-directionality” z-axis outgoing shot . . .
1.39Ferris Bueller: . . . to a x-axis incoming shot
1.40Moonrise Kingdom: cutting from a “zero-directionality” z-axis outgoing shot
1.41Moonrise Kingdom: to a second z-axis shot . . .
1.42Moonrise Kingdom: to a shot with converging x-axis vectors
1.43Lucy: cutting from a “zero-directionality” z-axis outgoing shot . . .
1.44Lucy: to an incoming shot with a high magnitude x-axis vector field
1.45Four lines of movement from a z-axis shot
1.46Occurrence at Owl Creek: reverse dolly comes to a halt
1.47Occurrence at Owl Creek: a “head on” move to the camera in the outgoing shot
1.48Occurrence at Owl Creek: cuts to the incoming shot
1.49The Passion of Joan of Arc: looking into an event
1.50Persona: creating an event
1.51–1.56The Big Chill: wider deductive shots intercut with closer inductive shots
1.57The Big Chill: the last shot indicates the man being dressed committed suicide
2.1Primitive Mode of Representation (PMR) in Jack and the Beanstalk
2.2Closing tableau: Jack and the Beanstalk
2.3Temporal overlap in Life of an American Fireman
2.4Temporal overlap in Life of an American Fireman: incoming shot 4
2.5Temporal overlap in Life of an American Fireman: shot 8
2.6Temporal overlap in Life of an American Fireman: shot 9
2.7Creating space graphically in College Chums
2.8Nöel Burch “Spatial Temporal Articulations, a 3 × 5 Matrix”
2.9Flashback/overlapped action for impact in Mission Impossible 2: Ethan Hunt uses his mirror to fire on his pursuer
2.10Flashback/overlapped action for impact in Mission Impossible 2: first cut to the pursuer
2.11Flashback/overlapped action for impact in Mission Impossible 2: second cut to the pursuer
2.12Flashback/Temporal Reversal Measurable in the opening of Iron Man: opening scene
2.13Flashback/Temporal Reversal Measurable in the opening of Iron Man: title card reads, “Las Vegas, 36 hours earlier”
2.14Flashback/Temporal Reversal Indefinite in Forrest Gump: Forrest Gump closes his eyes to remember
2.15Flashback/Temporal Reversal Indefinite in Forrest Gump: cut to Forrest as a young boy, striking the same facial expression
2.16Jump cut in Breathless: truck follows Michel
2.17Jump cut in Breathless: cut to the same shot now showing the two cops following
2.18Jump cut/Temporal Ellipsis Measurable in The Royal Tenenbaums: last frame outgoing
2.19Jump cut/Temporal Ellipsis Measurable in The Royal Tenenbaums: first frame incoming
2.20A carry over dissolve in Seven Chances: outgoing
2.21A carry over dissolve in Seven Chances: incoming
2.22Flashforward/premonition in Easy Rider: Wyatt looks around the room
2.23Flashforward/premonition in Easy Rider: cut to plaque
2.24Flashforward/premonition in Easy Rider: cut to aerial shot of fire
2.25Flashforward/premonition in Easy Rider: cut to Wyatt sighing
2.26Flashforward/thinking ahead in Sherlock Holmes
2.27Alternating edits in The Godfather
2.28Crosscutting/parallel editing in The Godfather: back to the church
2.29Flashback to the breakfast scene in Citizen Kane
2.30Temporal ellipsis within the breakfast scene in Citizen Kane
2.31Temporal ellipsis within the breakfast scene in Citizen Kane
2.32Freeze frame in Goodfellas like “thought tracking”
2.33Temporal ellipsis in Goodfellas: 10:45pm
3.1An exit/entrance cut
3.2Overlapping cut for smooth continuity
4.1The process of film narration
4.2Simultaneous presentation of narrative events in Citizen Kane
4.3Simultaneous presentation of narrative events in How Green Was My Valley
4.4How Green Was My Valley: camera tracks to show the brothers leaving
4.5Tire triptych in Grand Prix
4.6Grand Prix: single image displacement
4.7Grand Prix: 64 panel shot creates a pattern of identical elements composed in a grid
4.8Grand Prix: four panel shot as a structuring device
4.9Split screen in Requiem for a Dream
4.10Buffalo '66: successive events, simultaneous presentation
4.11Crosscutting in Inception: outgoing shot
4.12Cross cutting in Inception: incoming shot
4.13Inception: nested narrative montage
4.14Inception: Ariadne awakes at the snow level
4.15Inception: Ariadne awakes at the hotel level
4.16Inception: Ariadne awakes at the van level
4.17Liberty Valance: shooting, version 1
4.18Liberty Valance: shooting, version 2, recounted enactment
4.19Liberty Valance: shooting, new point of view
4.20Wayne's World: flashback spoof
4.21Goodfellas: multiple enactment, single recounting in the murder of “Stacks”
4.22High Noon: equivalent syuzhet and screen durations
4.23Slow TV: Train Ride Bergen to Oslo
4.24Last Temptation of Christ: flaunted temporal ellipsis
4.25A Clockwork Orange: fast motion
4.26Requiem for a Dream: fast motion
4.27Man with a Movie Camera: slow motion
4.28Seven Samurai: death in slow motion
4.29The Devil Wears Prada: in-camera wipe, the outgoing shot
4.30The Devil Wears Prada: in-camera wipe, the incoming shot
5.1Sequential analytical montage in Strike
5.2Hollywood montage in Citizen Kane
5.3Sectional analytical montage in The Wild Bunch
5.4October: idea-associative comparison, Kerensky vs. peacock
5.5October: idea-associative comparison, Kerensky vs. peacock
5.6Battleship Potemkin: idea-associative collision montage
5.7Battleship Potemkin, Cossack
5.8Battleship Potemkin, Cossack 2
5.9Battleship Potemkin, woman
5.10Artificially produced representation of movement, logical: machine gun
5.11Machine gunner
5.12Artificially produced representation of movement, alogical: lion 1
5.13Battleship Potemkin, lion 2
5.14Battleship Potemkin, lion 3
5.15October, soldier in trench
5.16October, mechanized gun descends
5,17October: metric montage, Savage Division, dancing feet metric montage
5.18October: metric montage, Savage Division, spinning bodies
5.19Methods of Montage: rhythmic montage
5.20Methods of Montage: rhythmic montage
5.21Battleship Potemkin, shot 920 menacing shadows
5.22Battleship Potemkin, shot 921 mother castigates soldiers
5.23Battleship Potemkin, shot 958, line of black boots
5.24Battleship Potemkin, shot 959, line of rifles
5.25Battleship Potemkin, shot 960, mother hit at carriage
5.26Battleship Potemkin, shot 970, rhythmic montage, soldier exit frame
5.27Battleship Potemkin, shot 971, soldiers enter “unsynchronized”
5.28Battleship Potemkin, tonal montage, shot 645 buoy
5.29Battleship Potemkin, shot 646 “oily” water
5.30The Old and the New, overtonal montage
5.31October, intellectual montage: Gods sequence
5.32Vertical Montage diagram
5.33–5.37The first five shots from “The Battle on the Ice”
6.1Paisan: baby cries
6.2Bicycle Thieves: camera movement instead of cutting
6.3Bicycle Thieves: correspondences
6.4Bicycle Thieves: tracking shot and relative positions
6.5Bicycle Thieves: staging in depth
6.6Bicycle Thieves: staging in depth
6.7Bicycle Thieves: medium tracking shot
6.8Bicycle Thieves: medium tracking shot
6.9Citizen Kane: deep focus trophy
6.10Citizen Kane: in camera double exposure
6.11Citizen Kane: miniature projection
6.12A Day in the Country: creative staging in depth
6.13A Day in the Country: a rare close up
7.1Mirror: slow motion
7.2Mirror: cut on idea from hand . . .
7.3Mirror. . . . to a recurring interstitial shot of a hand
7.4Mirror: shifting modes of address, from looking at the audience to . . .
7.5Looking at the father in some other place and time
7.6Meshes of the Afternoon: tunnel shot
7.7Meshes of the Afternoon: in camera split screen
8.1Rapid cutting for physical movement in Mad Max: Fury Road
8.2Rapid cutting for the collision montage in Raging Bull
8.3Internal rhythm: character movement in Citizen Kane
8.4Internal rhythm: pattern of movement and lens usage in Barry Lyndon
8.5Internal rhythm: telephoto lens in Tinker Tailor Soldier Spy
8.6Internal rhythm: wide angle lens in Aguirre: Wrath of God
8.7Internal rhythm: low angle placement in Citizen Kane
8.8Internal rhythm: high angle placement in Blowup
8.9Internal rhythm: high angle placement in Spartacus
8.10Internal rhythm: the close up in “Life Lessons”
8.11Internal rhythm: reverse dolly in Paths of Glory
8.12Internal rhythm: tracking shot in Moonrise Kingdom
8.13Internal rhythm: handheld camera in Saving Private Ryan
8.14Internal rhythm: candle light in Barry Lyndon
8.15Internal rhythm: repeated forms in Alexander Nevsky
8.16Internal rhythm: repeated forms in Blowup
8.17External rhythm: held dissolve in Sideways
8.18External rhythm: humorous wipe in Thicker Than Water
8.19External rhythm: the wipe in Rashomon
8.20External rhythm: spatially integrated wipe in Highlander
8.21External rhythm: the iris in The Artist
8.22Graphic edit: cut on form and position in Ran, outgoing shot
8.23Ran, incoming shot
8.24Graphic edit: cut-on-form, position and action in All that Jazz, outgoing shot
8.25All that Jazz, incoming shot
8.26Graphic edit: cut-on-form and position in 2001: A Space Odyssey
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