"Cut" is the real secret of shots. blogsearch.google.com If you know how to cut, you know how to shoot. ... cinema3.vodpod.com : I collect with vodpod alternative to youtube.com ...

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subjects : composition * shot + shot * CUT * light * sound * color * montage + mise-en-scene * movies & films *

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TOPICS: drama + comedy + postmodern + time + space + death + self + imdb + history + scripts + amazon.com/kindle

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Òàê æå, êàê ïðÿìûì «ÿçûêîì» ðåæèññåðà òåàòðà ÿâëÿåòñÿ ìèçàíñöåíà, «ÿçûêîì» ðåæèññåðà, ðàáîòàþùåãî íà ýêðàí, ÿâëÿåòñÿ ìîíòàæ. * [Eisen] language of of theatre director is mise-en-scene, language of film director -- montage. Andrey Tarkovsky Kurosawa Fellini Ingmar Bergman Antonioni Film Directing 101 GeoAlaska: Theatre & Film vtheatre.net act.vtheatre.net direct.vtheatre.net film.vtheatre.net script.vtheatre.net shows.vtheatre.net method.vtheatre.net biomechanics.vtheatre.net write.vtheatre.net web.vtheatre.net Mailing List & News -- subscribe yourself! FILM DIRECTING class directory ** Theory of Spectatorship Theatre Theory -- stagematrix.com film books cine1010.com teatr.us Student Pages: Instructions on Instructions webmaster Directing ONLINE * Sight, Sound, Motion: Applied Media Aesthetics Developed at San Francisco State University, this textbook isolates the five fundamental image elements of television and film--light and color, 2D space, 3D space, time/motion, and sound--examines their aesthetic characteristics and potentials, and structures them in their respective aesthetic fields. The fourth edition adds sections on inductive shot sequences, electronic cinema, and alternative storytelling techniques. *** «Ìîíòàæ – ýòî ñêà÷îê â íîâîå èçìåðåíèå ïî îòíîøåíèþ ê êîìïîçèöèè êàäðà», - Ñ. Ì. Ýéçåíøòåéí. Bookmark FILM-NORTH Film Index @ Theatre w/Anatoly Amazon Books Book-Page @ Film-North Film Bks Reel.com Shot-Page Cut = an instanteneous change from one image to another. Good (smooth) and bad cuts. Continuety (vector fields) The Dissolve The Fade Wipe Jump Cut See Camera new: chekhov.us * Russian Theatre (links in RU): fest.theatre.ru + cultu.ru (webcast) * filmplus.org/kino * picasaweb.google.com/anatoly.antohin * my shared page google * diggo [ new ] & 2010 AA Ethiopia Summary [ this page has many brothers and sisters: see editing, edit, cutting -- and even half-brothers, like "montage: a lot of relatives! ] Questions Search The Internet Movie Database Enter part of a movie or TV quote and click "Go" to search the quotes at imdb.com.   goto : tarkovsky.wetpaint.com wiki [an error occurred while processing this directive] Notes "Between shots": analysis of cuts only (structuralist approach). movimaking online book * wikipedia [an error occurred while processing this directive] [an error occurred while processing this directive] blogsearch.google.com ... best cut (poll) ? "What if everything is an illusion and nothing exists? In that case, I definitely overpaid for my carpet." - Woody Allen ... a few (more) words in russian : Eisenstein -- Ýéçåíøòåéí ëþáèë öèòèðîâàòü Ïóøêèíà: «Âûõîäèò Ïåòð (îáù. ïë.). Ëèê åãî óæàñåí (êð. ïë.). Äâèæåíüÿ áûñòðû (ñð. ïë.). Îí ïðåêðàñåí (êð. èëè îáù. ïë. – çàâèñèò îò àêöåíòèðîâêè).» * Íàøå çðåíèå íå ïðèçíàåò ïàíîðàì. Âçãëÿä ïåðåìåùàåòñÿ ñ îáúåêòà íà îáúåêò èëè ïåðåâîäèò ôîêóñ ðåçêèì ñêà÷êîì. Ðàñêàäðîâêà òîëüêî âîñïðîèçâîäèò ýòîò ïðèíöèï. È ðàñøèðÿåò åãî, ïîçâîëÿÿ ïåðåáðàñûâàòü âçãëÿä áåç îãðàíè÷åíèÿ â ïðîñòðàíñòâå è âðåìåíè – âèçóàëèçèðóÿ ïðîöåññ îñìûñëåíèÿ óâèäåííîãî. «Îñíîâíîå ïñèõîëîãè÷åñêîå îïðàâäàíèå ìîíòàæà êàê ñïîñîáà èçîáðàæåíèÿ ìàòåðèàëüíîãî ìèðà â òîì èìåííî è çàêëþ÷àåòñÿ, ÷òî îí âîñïðîèçâîäèò ïðîöåññ, ïðîèñõîäÿùèé â íàøåì ñîçíàíèè, ïðè êîòîðîì îäèí çðèòåëüíûé îáðàç ñìåíÿåòñÿ äðóãèì ïî ìåðå òîãî, êàê íàøå âíèìàíèå ïðèâëåêàåò òà èëè èíàÿ äåòàëü íàøåãî îêðóæåíèÿ». Ý. Ëèíäãðåí. ... Ïåðâîå îòëè÷èå ìîíòàæíîãî ÿçûêà â òîì, ÷òî âñå ãëàãîëû â íåì ñóùåñòâóþò òîëüêî â íàñòîÿùåì âðåìåíè. Èìåííî ïîýòîìó ýòî íàèëó÷øèé ñïîñîá èõ óïîòðåáëåíèÿ è â ñöåíàðèè. Íà ýêðàíå âñå ñóùåñòâóåò òîëüêî «çäåñü è ñåé÷àñ». Âåäü ÷óâñòâàì è ýìîöèÿì çðèòåëÿ, ê êîòîðûì, ïðåæäå âñåãî, è àïåëëèðóåò ýêðàí, ñîâåðøåííî íå âàæíî, ñíèìàëñÿ ìàòåðèàë íåäåëþ èëè âåê íàçàä, èëè èäåò â ïðÿìîé òðàíñëÿöèè. Îí âèäèò ýòî ñåé÷àñ. À äëÿ ÷óâñòâ è ýìîöèé, â îòëè÷èè îò èíòåëëåêòà, «â÷åðà» íå áûâàåò. Ìû íå ìîæåì ðàäîâàòüñÿ, âîçìóùàòüñÿ, ëþáèòü èëè ïëàêàòü «â÷åðà» èëè «çàâòðà». Âòîðîå îòëè÷èå – â ýòîì ÿçûêå íå ñóùåñòâóåò íè îäíîãî îòâëå÷åííîãî ïîíÿòèÿ. Êàê ñíÿòü ïîíÿòèå «õîðîøàÿ êíèãà» è ÷åì îíà áóäåò îòëè÷àòüñÿ îò «êíèãè ïëîõîé»? Ïåðåïëåòîì? Èëè ôàìèëèåé àâòîðà è íàçâàíèåì? Íî äëÿ ýòîãî íå òîëüêî ðåæèññåð, íî è çðèòåëü äîëæåí çíàòü ñîäåðæàíèå ýòîé êíèãè. À. Êàìèíñêèé : ÌÎÍÒÀÆÍÛÉ ßÇÛÊ ** ... * ßçûê ìîíòàæà, áëèæå ê àíãëèéñêîìó, ÷åì ê ðóññêîìó ÿçûêó, â òîì ñìûñëå, ÷òî äëÿ ïîíèìàíèÿ ñìûñëà ìîíòàæíîé ôðàçû ïîðÿäîê êàäðîâ èìååò ïðèíöèïèàëüíîå çíà÷åíèå. Ïåðåñòàíîâêà êàäðîâ ìîæåò íå òîëüêî ñìåñòèòü àêöåíòû, íî è ïîìåíÿòü ñìûñë ìîíòàæíîé ôðàçû, âïëîòü äî ïðîòèâîïîëîæíîãî. ... 2004: new: chekhov.us * Russian Theatre (links in RU): fest.theatre.ru + cultu.ru (webcast) * filmplus.org/kino * picasaweb.google.com/anatoly.antohin * my shared page google * diggo [ new ] & 2010 AA Ethiopia Bookmark FILM-NORTH Film-North virtual theatre sellassie.net stage directing theatre biomechanics my shows my mailing list plays ... 2008 -- filmplus.org/kino

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theatre theory

blog: anatoly-film

Cut!

Did you read Montage page? Good. Now more about Kuleshov Effect!
First about this scream "cut"!

Eisen always insisted that that power of montage is in the Scissors! "The essence3 of cinema does not lie in the images, but in the relation between the images!" (FW p.62) "The Inventive Scissors"

Without cut the cine-language won't be possible. "Filmic wrioting" must be seen in combination of cuts and shots. Only because of the two cine-sentence can be constructed and cine-grammar exists.

In fact, in dichotomy of cut/shot is the fundamental visual conflict (motion picture's effect is based on frames being "cut" from each other). Bergson (later Deleuze) speaks of the nature of duration and repetition. Eisen's favorite dialictics can be apply here. The synthesis is the third stage, which is born out of conflict between shot and cut, image and blink, light and darkness...

Real filmmakers know this secret -- they study CUTS.

I advise my students to force themselves to watch "cuts only" and get use to notice the unnoticable. I asked them to count cuts in commercials (homework), to examine each cut, put cuts in progression -- I ask them to see the logic of breaks!

Pauses? Punctuation?

See various cuts on the right. This primitive (elemental) feature of film is resposible not only for language, but tempo-rhythm -- and, yes, the style!

CUT is ACT! Stopped ACTION? Blocked vision at the moment when you are ready for more! CUT is not seeing in combination with the shown!

More in Montage

Two-shots?

Before we start with a simple 3-shots storyboard, notice that we always have something in between...

shot #1

shot #2

shot #3

I left shot#2 blank, because it's an invisible shot, which we usually call "cut"!

If you keep remember that cuts link shots, it'll be easy for you to see how montage works.

[ this page must be linked to film analysis directory @ film.vtheatre.net ]

shot #1

shot #2

shot #3

This black (or white) shot (cut) is the biggest secret in film-making. Turn your narrative into drama: let the cuts narrate! (Advise from David Mamet, read him small book on Film Directing). Not on acting!

Commercial Archive: Place to Learn!

New Page for 1999-2000

Film & Drama Class could use it, but it's developed for Film Directing class of 2000.

Affiliated pages:

Semiotics Semio2

Cut belong to the "atomic" structure of film language. In fact it's build in as a phenomena of motion picture (24 frames/sec). Cut is blink! We have to blink in order to see. See POV on more on philosophy of SEEING.

Notice the difference between traditional and electronic technics.

Next: 4th Field: Editing

[ thinking in "cuts" ]

Motion -- Cut -- Editing

1. Continuety Editing
2. Complexity Editing (intensification of an event)

Continuety of Vector Fields

Graphic Vector Continuety

Index and Motion Vector Continuety

Directional Change

Converging Index and Motion Vectors

Crossing the Vector Line (placing the cameras on both sides of the vector)

Z-Axis Position Change

Establishing the Vector Line

Index v. Motion Vector Line

Zero Vector Camera

Z-Axis Camera

Subject Continuety

[ textbook ]

Complexity Editing = Montage

Dialectic Principle

More in Montage

[ in class watching/counting cuts only -- samples : filmplus.org/video ]

[ For use of CUT in Virtual Theatre see vTheatre and/or vFilm pages! ]

SHOT page

Next: back to Film Directing

2008 2004 & After projects: Demons: Dostoevsky, Camus & Me -- War of Terror texts: HIM web-biography in focus: filmmaking 101 reading: Links atomfilms.com * dfilm.com * ifilm.com * mediatrip.com * super8 * classics * independent BioMechanics Directing: Shot-by-Shot Film Directing: Cinematic Motion 2009 cine101 LUL ...

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2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
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