teen” Ir chapter th Aspects and Elements of Time large camera in an empty New York apstment es che light coming in he wingours. ing city begin 1 appear onthe walls Abvardo Mors quietly sets uy Except fora singe small opeting, heh ‘Ghostland inverted images ofthe urea ‘Atjus te ight moment, he eleasesthe shutter 11856, Nany Callahan and Diane Gallo created Stonfon Stortesin Chery Vol. New York They isla combination ot woess eupes ere objets n an uns stern indo: Every 10d. they chad neg laton nd presented th nex chpterna sa, Overseer rr an ‘veiled neni arate whe emp uring the 1984 Super Bova fy sp company ied an unusual com akin en gene elnahanye alge heater ad hulle theres From te scene Sy ete intns "om weet et aoe Ee cation deen" worn thle then appears caryiagedgchence a sian toa th tener 131, ads im a pul Ones asthe hammer ino the sere, wih expla Ashe wad aoe {stint announcer eas, “On nuay 24 Ale Computer wil iataduce Macnee ‘And you see why 1984 wort eke oe Though this a, Apple ciered ana Sear Orvels dwopian von of he aes adie 1994 compues be cane ‘very aspect of ores, fom I Phones ad beyond, Whats the con works have in common? Ineach es, a understanding ‘an esenta aspect of the work Like rane ime sel intent. We cannot sein ig fees every aspet of our ies An lseae orkng on rack mec puter seks th, drumatle momentin each event Theodae trical composed The Raf of the Neds (132) to capture the most dramatic meng Intl. And, throug variations in emcee tnd coo, the erat David Macborey invites ust examine a gour-shaped jor ow. eveing cach nuance as te oe th form (see Profle page 270) Photographers illustrator, and dig media artists areespecialy sensi importance of ine. When news photageater Sam Shere captured te momeataruhicngs hug ibe Hindenburg expe, ec indelible mag (13.3. tn Dston soa tore Witkin wed cre lange puinings (Reso ofthe devaitng domestic aruman (ee gute 142). Christan Macays Tecan 3. presents excep fom thousandee ips The fl includes ca hase, bunk ha baring candies, and every concthatie te Mewins although he psge Stn il yin cen set lary dros hae ree ae Se imple alana aol prinBUILDING BLOCKS Arts generally compose the sequent strc fm, vdeo, and graphic novel using fou bas wii Frame, shot see, and sequence ‘The frame isa single atic image, Peete oat lat scren, the same compositional forces that me ‘exporedin Prt One govern afin fan, Halane scale, proportion, and emphss play an especialy Important olen lmmahing. AS igure 3A, 1S and 13.5C show, the boundaries ofthe frame dee ‘mine the inage’s meaning. The elore-up in the fis frame shows the gasoline can that started the fi TB ‘medium shot in the second rae shows the alg loewhere the fre hasbeen set. The long sot inthe final eae shows the ire in larger context. Wea Sco that hs ie ina parking lot could spark an exe son ata nuclear powerplant In mm. «shot sa continous group oF frames. In gure 13.6, he st shot consis of frames, the second shot consists of frames and the hz shot consists of four frames. In adn films, the eighr-fame shot would at for one hia 4 second, while the scrame shot would is fo a ‘quatrafa second By combining thes shots, we can crest en Filmmakers usualy const scene fom con tinuous action n continuous time and continua spe. They often combine shots of various length sStenghen exresion, ‘Asequence i collection of elated shots and scenes that const a major seston of action ‘narration. To understand the expressive potenti ef Sequence, we wl examine four major ways wih shotscan be relate, Relationships In Fl Art An redaction (1979, David Borde std Kristin Thompson describe four tpes af shoo sot relationship A graphic lationship connects two oe more ings through visu silat. Because the images tf doves, irplanes, and crosses in gure 137A, 1378, nd 13.7C are graphically sil, we ean make a ‘oul connection when we view them sequently. 1h hiscse a visual connection ommuniete a pol tallies. Doves symbolize pee, bombers symbolize ea and ersses symbolize death The uataposion of these shots shows that the tans from peace o war A spatial relationship can xpunor compres the stage on which an sction tears. Though combine ton f close-ups and distance shots, the Rlmmakercan Increase or decrnse the croton connection betwen the actor andthe aadienoe(138A-C) In the ral clas- pln this series, the stor can peak tous diy ‘A temporal relationship cin cssbish chro. nology, the oer In which events cut We may tella story through simple sequence of events or onganize it using Hlashbacks, which fe to pevious ‘evens The 1993 move The Fuge ves flashbacks extensively The film begins with the monde of Dr. Kimball wif, Wrongly accused ofthe crime and sentenced to death, Kimball mut dscover the seta killer if he a clear his name. Flsshbacks tothe mur der leh occur throughout dhe i) show Kimball's recollection ofthe event that shattered hs lf, ‘When flmmake combines many shot, be or shecan create deliberate hythmic relationship, Rhye ifn based on a interplay between ai and dynamic, ona cont between ight and dark oe fon a combination of shots of diferent dation Tn The Birds(1963), Aled Hitchcock se all these relationships to creates suspensefl seqen ‘har bullds oan explosive climax (13 9A-K). Bordwell and Thompson doscrie this example in x* wt " fy“Se : etl in Fm Art? Melani, the central character in the sequence, watches in Roror a line of Naming fsoline advances ares the pavernent, and ten ignites gas sation The shots of her fae ere one apie sequence, while che shots ofthe ae create second. By erosscuting, or alternating between ‘the two Hitchcock created a powerful rhythm and ‘stabished a simutaneous temporal relationshig Melanie is watching the gasoline as advances ‘ovand the gs station. In afnal acral view (1358) we shift our spatial position to watch the final explosion froma seagull’ point of view itsog combined graph, thm, temporal, and spat relationships to create a cinematic masterpiece Four common transition ate the cu, fade, solve, and wipe (13.10) Aeut {san abrup wantin chat may connect, ery diferent images or ver similar Images, depending onthe desired fc. Fades and dissolves are rad ans Inafade, the hot slowly darkens rights Ina dissolve, es one shot, fads, moter appears. Two shots are supeimposed briefly in lap dissolve. wipes mor abrupt than a fade but tefer than acu In wipe, the Bist thot seems tobe pushed of the sereen by the second ‘uc nex ston wil lustre four adtonal teansons thie ae often uso in graphic no ‘This informations drive from Set Mecoud's Understanding Comics” An aetion-to-action trans tion (1311) simply ilustraes sequential movement within an event. Here the vila eas back an ten ‘hows the bomb. Ina subject to subject transi tion (1312, wo shots within the sume scene are junposed ‘The ili ightsthe match and then hus the Bom A seene-to-seene transition (13.13) requires more viewer involvement, Here, we move frm apy toa chply of fireworks, Out fin example, 9 nom sequitur transition (15.14), roglres te wear 0 ‘work even hard Since thee i nological lationship berween the ogee and the bridge, ws mt invent> key questions BUILDING BLOCKS + cama pophic or temporal eatonship hance the meaning of your artwok? + Where areyou ising close-ups, medium shots and long shots What purpose does sch hot seve + How might cxsscuting att yim and meaning in your im? + tyes ads, and other ps ransion, How does the tanstion ype fect meaning of your arbi) DURATION Duration refers to thee things te running time of «film, video, o performsncs the ime covered by the events thatthe story depts andthe overall pan coftime that the tory encompasses, Fo example, the viewing time ofthe frst Hunger Game movies 142 ‘minutes. The plot duration fom the slstion of the Inbutes to the completion ofthe games is roughly a month, The overall tory duration extn back oer ‘Heyeas to the aed uprising hat ested inthe ‘stablishment ofthe brutal Hunger Games, which pt feenagers agaist cach ther ina deadly bale Matching al dre spect uration fo the intended message is essential. 15-minute fn can not efetvelycommonicat the ation and ideas contained within eomplex nove. Equally expanding the duration of 2 10second rocket launch wll make inboring ater than gripping. Bvery moment ha its own power 15sec advertisement uses tine just as carefully as 42-hour lm, Determining the plot drain is xpeily mpm tant. Following the principles of drama debe Aristo ancient Greck plays (stich as eds) seneraly occur overs one- ot two-ty pevod. Wil the characters may refer to previous evens, thea fon stage bet Hart, Romeo on attention ona few events and thereby incresesthe Impactof the pa. > key questions Duarion + What the actual ration of he event on ‘whlch you have sed your rework? Wha Isthe duration of our edie version? + Whar did you et from the ra footage and what id you ad? Wy? + What strtegles can you ust expand or compees dation? expanded or compress duration ad meaning a your artwork et and te ‘Shakespearean play are equally short in tht see By liming the time fame, the playwright ocuses TEMPO tempo fests the sped at which ie pases, etapa constancy fel ie, OP yuo of een in ourlverais wideydpening Sate nate ofthat ad the ate of omer try Sco mine er Pedy thecal fie sat. Bed on slo Shterend he number of capped ete ners Sctsned hat her woul be enough ope fr feurourwal Beynd Ga pln, scowl be frlehey wouldnt of angen Aine hs {unacewath alot! he ors athe sed Hereated hs pot cting inal be length of ine passed. ix ours pase. A he ‘ics sue npn man hh ah He hochacw tnt hey were otf nee tor movement ad gt act temp n Har Fue and he nd of the hoe the Fg bteen x enaged we he Deal Enterta sage oa (1315) Top ac enough oma decor Dei tes as thon able ste he nal eo throw sl ‘nleiing andthe don of computer genre imagery y conning amen om many ee vio Tes wa ale incre o decree ego ofthe ihe eth in, psn of ie as lagers empe ina grape nove ere unre pc pls cle rosie to Spectup thee, oot pncs tnd Stow things down Figure 13 1Sshows wo aes fom rn by Jr Walnan centre Startins upllsein ie rt page lest Bist tdyand face rine annie nee ton tothe gue she edge along. The pce ew Dut method! The tempo Becomes eet’ Show tthe cond camp Sblchangen he tascam bet slight © dk lu ht ine pang the ck nee moves Like ad ip aeons monotonous an Scape the fp hasslowed ora> key questions + How ict does ime pes in ou + What arth advantage af slow tes? (0 fa tmpo? OF variation in emp + How an tempo heighten emotion or expand meaning in your projet? Intensity res othe evel of energy na ptf ‘mance or the quality of ebsevation of a vent. Fot example, to win an Olympe gold medal a oe skater rust pin rapidly, ally extend each move and exude oth thetic tll and emotional conviction ikewis ‘ven an ordinary gas of water ‘when we observe i closely. The gas ise fers ‘racefl interplay bees line and shape, whl passing through droplets of water reas into ari rae tay of colo Intensity of prforman. heater We en el te co Is an ese sapeet tation that the actors ring othe stage, When a drumatl oe a fgerous event occurs we can share thelr emote I ng he House (13.17) Yugoslavian artist Mati Abratnavié combined intensity with metaphor. ‘make a politi statement. Wearing a white es Bl siting ina poorly lit NewYork Cty bseren he Serubbed their snd lood of colecton of aie cow bones. Like the bones, varius tne group her homeland had been “lensed” through exp sion fom their homes, bringing vauma ad Behl bones othe shattered aunty Arts ofen us ideo fit oreo an then Intensiy everyday experience In Miron (Mona (1318), Mary Lacer photographed « monarch bute ‘hich alghsona human hand, then dis. Is eapal of migrating thousands of miles, bt Li bowie beau crest 1 fagleand vanien. The enya of ming the inser death focuses ou tenon vent, ile the subsequent vido proce fon in the mid of Manhattan increas is poignane and sigionnc. » key questions INTENSITY + What the tens oe of your ator pfs? + Howls change in ns set your artwork’ exec ower! + How are you communiating thisintensiy to the edience? + What tbe most important som in your Works tbe ‘We an define spe in vo ways, Conceptual itis th ‘our perception or the range of ideas that our minds terms oft, fe ‘asp In tothe amount of aeton tat doers within a The eae lms, such s The Arial af a Tran La Clot Staton (13.19), ae limited in scope. We sea single event fom a fixed viewpoint. By postionlng his camera carefully die Lous [Lumiere created a dynamic, dlgonal competion. The tran and pasengers sem to come oat ofthe ren and nto the theater Some audience members were so convinced ofthe usion that they were afraid they would be ht by the tran Inthe ex dys tf cinema, any tevin mage fascinated the acdience and this ‘mpl Sm beeame very pepe ‘sector gained experienes, they expanded the temporal scope oftheir fins. tn The Grea Train Robbery (2003) gang of bari holds up atin; a telegraph operator ales the aula tis a poses pthered from men at ol dance; the posse cap tures the thieves Director Edin S. Porter used oaly 11 shots simple editing Nonetheless, x cler that te robbery dhe tga piers mesg, andthe dance are roughly simultaneous eeuly With iseranee distor D.W, Geifith ended vd B), Gri the fim toa beth roguire complex eitng, and Grifith became a maser ofthe art. Using ro cutting aterating besvoon tw or more even ‘rete a eannetion between smultneous actor Graphic novel arss ue many ofthe same ev as flmmkers. th another ge fom German (13.23), Jeremy Waliman used a mio clse-yp and meta shots to show both agroupand selected indvidrals ‘ngage in hand-to-hand combat ‘Spe equal important in traditional are Sabine sal The thn ack te atest the wo upper et come eles his cloak anack, Ashe courtyard sich with str ‘he women and hel captors an old woman and children at the centro he pletlng watch inex > key questions + fis broad in scope, how can you crea conta among multiple evens? + 113 narow in scope, how con you ml thes” story besome meanings? + Consider moving from broed spe to arto spe within your movie Mow dag this fest communication?| Setting sone ofthe mos comple aspects time. It inciues the physical and temporal location of story. its prope and eostimes, andthe use of sour ation’ The physical sting ofan event hs an extaodiny limp on its meaning. An action tats appropri none content may be appaling in another. Asa dr major te rovd wil applaud you when you stu down Main Sweet during a Fourth of Fly parade. At ‘ferent time of ay (sich as Monday morning rash ot) orn a itferent location Such a8 a alrpor, you ae likely to get aces he temporal seting sequal signin Most of the cinematic action in Gone with he Wind (1938) ' derivod from romantie conflict involving Searle (O'Hara, Ashley Wilkes, and Rhet Bult Scarlet loves Ashley, Rhet lows Seale, Ashley aves Scare, ‘who sa mismatch forhim, While cach of he tres ‘harcters is interesting, the lve telangle ise is com. Inonplce she ins temporal sting during he ‘Anecan Chil War that shit the story from soap operat eps Likewise, Naney Holt’ Sun Tunel(:260-B) ‘would be meuningless if romoved from is ste in west era Utah, Constructed fom four 22 ton conte tun el this sufpare aligns with the sng and seing sun at the winte and Summer soles. Holes cut in ‘each tunnels walls show the artangement of stars in four constelations. Designed to heighten awareness of ut place nthe universe, this work releson both ime nd sting forts impact. nd Costi Props and crtumes can have an equally dramatic tfc in eztv, When performing a elegant talltoom dance, Fro Asate worea tp hat and tue fo, When dancing down a grt cy tet, Michael Jackson wore a leahor jacket and jeans In Peter Jackaons The Londo the Rings, the one ring of power {as importants charctr as Frodo, the Ring beater ify Years of Sence(1323A-C), visual book by ‘Tatana Kellner seven more dependent on objects and their meaning. The simple pine cate that protects the book eens innocuous nti we seth sal five-digit number ard nt thei. Removing the 1d reveals papier-miché arm that bears the same ruber Is cast of the ar of Kllner’smaher, $ survivor of Auschwitz concentration camp. The ok pages, cutout around the arn, tl the familys story before and dring he Holocaust As we tun the gs, the atual arm and the cutoat arm ae as ine Capable asthe Holocaust survivor's repressed memo ts, By placing it in sch «prominent position inthe took. Kellner provides us witha seulptral osep ofthe indelible tatoo. Using the crate and the armas pops” Kellner transformed the story ofa clout surivorinto highly personal event Relationships between an ator and 2 setting can substantially affect ou interpretation af an ation o¢ event. As we wll sein the net section, the place ‘ment of single gure within asuting afer wide range of possibilities, iste mst decide where to place the person within the frame, Figure 13.24 sows three alten ‘ives Posioned atthe fret age, he dance aes an empty stag, whic invites he enter. Postoned inthe center, she commands attention. She ean move tothe right the left, forward or back with as. She i na ‘snow ina more commanding postion. Facing right snd positioned a the right, she seems ready to eave the frame, perhaps to join otet dances ofitage. ‘What happens when the dancer'siz is vaied? Figure 15.25 hows that changing her sze eave to ‘he frame helps odoin he distance between the dancer andthe viewer When we ree ber size and lace her in the upper bal ofthe frame, se seems ds fant far from the viewer Whea she moves a into the foreground, with her oro filing the frame, she seems to posh past the boundary and into oar spa=e 7K « The ation of an illusionist et sing (13.25) dramatically changes the amount of space avalable wo our dancer ‘We can even use simple ine In va cous way may be the ground, provid Ing her with resting pice. Whe the dancer overlap the line, it cecdes, suggesting «horizon. The addition of second lie can expen the space even further. We can now show two grounds atthe same time: the foreground an the buckground Tn gure 13.27, headin of per spective lines furter enhances the space ‘Along cocridr in one-point perspective 86 the dancer more oom, She ca aw dance toward us or way fom ws. The space i extended beyond the edge ofthe frame bythe epeating cai andthe lies the ot Despite her small ig the dancers central placement makes her ‘he focus of bot image. The setting can become even more Slonifcant wher we view the dancer from above or below (13.23). Looking up fom he font ow gives the figure a command. ing presence. Looking down fom the al ony makes her sem Insigifcant “Aajsting the lights (1329) increases the compositional and emotional por sibiliesSielighting accentuates the lmensonality of both the figure and the seting When we beklght the dance, She becomes slnovee. We ose infor maton about her volume but gun sciking praphie image and an imprsshe cast shadow. Spighing the dancer a lire atentlon to specif par of hee body or eliminate the est ofthe stage altagether. Vitis in focus (1330) an afet both spatial lection and exotional lmpaet. When the foreground gure ou of fous she ses dominant, ad swe ulekly look past her into the more tightly fused audiene, The mide drawing presets a more tsdtonal se of focus. Clear focus in the foreground zradually diminishes as we approach the stant tage, However, do we relly want focus on the back ofthe audlence? By focuslng on the distant age, we can watch the dancer as she ends er pf: ‘mance and seeps the applause > key questions serning + Stat with gl sete WH Is his psn? ‘An Syearold boy? progant woman? ‘Asoldierin a wheschae? + What objects rato this haracter? + How many ways ean you poston the actor inthe tng? + How does cach poaion afc meaning? + What the viewer’ poston rate torheactor? Sound: The Hidden Dimension During the 199 Academy Award ceremony, the pre seners showed wo versions of clip frm Chait (fF, Tle try of the British rack team that wor ‘any medals during the 1924 Olympic Games showed ‘he transformation of idealistic men into hei at lees. in the ist versio, group af young men ran longa beach, accompanied by the sounds of heir fect splashing nthe wate. They were ordinary men ‘onan ordinary beach. The same forage was then shown ast appeared In theaters around the wold, ‘Arcompanied by the heroic, Oscar-winning there ‘ui, these Olymperurers became graceful, ven lke They were transformed by the sic Despite invisibly the soundac fas important oa film as the images that we se, Sound ‘engages another of our senses and heightens ot ‘emotion, A welleiten sent ean set the stage for ‘an aeton and help unify complex il Sound also hoghtens our axpctations. Consider the imporance ‘of squeaky doocs in horror movie a ur feling of ‘spectaton when ve hea the Star Wars theme, As ‘we begin to study fm, we fd tha ths example from (Chavos of Fresno an isolated ease. Sound can make o break il, (as delivered by an actor or generated ty the wud ence), mse embient sound, and sound eft. Each sound has the flowing seven qualities. Loudness is determined by he size ofthe ost lation in sound wave. Just a Bethoven varied the ‘volume (or loudness) within hs symphonies, san astute lamar or performance artist learns to we ful range of sound from a whisper toa scream. Pitch is determined by wave foquency 3s com pression and expansion occur within the sound wave ‘Thehigher pitch of most female voles general fs ess threatening than the Lower pitch af most male vices [Not surprisingly a most operas the hero sa tenor, ‘while the vllsin ie baritone, ‘Timbre eles to cach instrument’ univ quality ‘When we ply the same note on a violin anda um: ot itsounds very different. ‘Sound duration cee tothe length of time that swecan hear sound. A sound that persists vee Tong id of dane can serve usa beige betven two oF ‘mate fl clip, while abe explosive sound ny lt ust of oases pes of sound dominate ime desig: speech‘Thre qualities deine rythm: the beat, or pulse f the sound the pace (or empo) Which the sound played: andthe accents, or areas of emphasis within the rund. We encountor hythm in every conversation as welisien tothe spad of our een speech and not his orher emphasis on pareular words Rap mus ich insone mye hier frm pes, rey ep som the bet though bth we of won and th cnt efit of in ‘dal aes Thm, hy roth connection Derwesnasoindandisvace The sisent sound of aching proper ccnp thea falter athe nd fhe ms ca Sag Henson infomation and he “hl fran mash In Ran or Copel “Apoclse Now (97) iar Wager’ fou op ‘emai he Vales compan the anal iehelpterAsin Charo of re, distin wa muni analy changer ner prea te vent Fall om of sound operate win a 4p tial onter The bgp, sige oly tog ‘ar ban xcelentinatument a pl tions When pled naa rom, he sane fasten can ey teary ba paste offs al Litwin thipeed somersaon not maybe more compen han 2 Shute coment on ech Even when we have no nage stl ond alone an dine sac create sens of sntipation o zea, Ina fl, the spats mension of sound becomes even more significant. An onscreen event or a inv, ble ofscreen source generates» dlegetc sound Diegete sounds soem to emanate desl fom he ‘world of the film. Both onsreen and fereen sound axccriicllyimpomant, and in many cases dre torwill shift between the two For example in ames ‘Cameron’s Trani a quartet of musicians plays the Jnyma "Nearer My Goto These the cripple sip slowly sinks. The rouse continues as we sean elder couple intel caba, embracing (1330), anda motive onnfortng her cil. The combination othe sorrow. ful music and the tragic images elghtns our sense of os. ‘Composer Aaron Copland was master offs, susie 1n 1989, he wrote "Tp to Moviegoers: Take Of ‘Those Ears an esaydesabing ways that mos: cam enhance a fm. While his comments are mest applcable to msc, we can als apply them to other 'ypes of sound. Copland emphasized five pints, pa phrased below + Sound ca rate a more coining amoxphee of time and plac. For example, harpsichord music ray beefctive in lm set in sevententh-centary ‘Vienna, while jzz maybe sporopite fora dels Sve story sein contemporary New Orleans Sound ca communicate a characters unpoken ought ora situation’ unseen inplcatons cheerfl family pen lm can ule beeome threatening and elaustophobic if the Maker ade an accelerated heartbeat Sound can serve as. neutral background fling space benween bits of logue. Copland consider this the “composers most ungratefl as” yet noted es value in helping to rene a une m, ‘Background sounds can subtly season the overall ‘erporal stew Sound can inereat continuity. As we noted in Chapter One, a collge of visual fragments cat ‘edu oun, Simulsay a montage, o collection af temporal iments an gully ‘become chaotic and incomprehensible, The Sdeltion of sound help to connect the pats nd cana a oiying ryt. ‘Sound ofter herds the begining of an eet or rounds tof with oso ray. Join Wins succesful and prolife compeser of contempory Sa sores, is renowmed fr his memorable into ‘icons aswel as his pand finales. Foe examples tf his work, watch and stent Hany Perand tne Philosophers Stone, aus, Star Wars, Rader of the Las rk Superman, and Schindler’ Ls Forclariy, weve explored examples that a rmpatic and fila. In your oa work, conser Tess cbvion soktons. The ineply between sound and image extremely sch, and experimenting with ‘fala combinations may ead you othe most powerful elt. > key questions sermg + Conse al aspects of set sound, props pla pace, and Fhtng Have ou ied each ape: fuly?| + Towhat extent should various aspects of eng mac What happens when you ‘ene dlberste sma been ane ‘or moe sting components? + conser aro settings What wll happen ifthe sting changes diag he performance fr a ested ralroad statlon feta? Toa docs fat Talore al? CHRONOLOGY (Chronology teers tothe oder in wich events ecu: ln realtime, a foot race begin withthe stlets ining ‘pin positon (action A) followed by the frig ofthe starting gun ation), the rang ofthe ree ation (©). and he conausion at he Sins ine (action D), \We an ognize these asons in vacous ways, fom a disorienting ABACADA pattern tthe fanilar ABCD aterm ofthe actual ace In Seractre ofthe Visual Book Keith Srith demnsrtes the nareatve posites of mul tiple images (1332-1238, Changes in chronology ‘completely change meaning. n each cast, relation ships among the images create the sequence of evens needed to ella so: ‘Combining shots rete chronology. filmmaker combines shots through editing, Elting serves six basic purposes: 1. Thefilm editor must slet the mest compeling images from the total footage shot No mater how carefully actors reheat a scene, variations In performance quality our, Documentary ms require even more footage Before edting a im bout the 1936 Olympic Games in Belin decor Lent Rlefenstahl devoted 10 slid wecks of work Jt watching the re footage Editing this mate down toa 3¥rhour fila ook another ve years! The filmmaker must organize the mw i nto ‘cohesve whole. Directors often use multiple cameras to provide plenty f rough footage ‘Constructing coerent composition using both close-up and distant shots soften the fst step Though editing, the filmmaker can develo & temporal framework, Time can expand, con. ‘or move ln adlzying spiral. When using eosseut tng, the eto shifts back und forth beeen tO or more events, thereby suggesting he simultane ous oscurence of mulpl setions,A Tle of Tro ites, by Charles Dickens, sa literary example of ercascuting. The naraive reaches a liman as ‘Sylney Carton in Pai, led oe guillotine, hile his double, who was actully condemned to di, is drugged and transported to London. Chater alec chapter the story shits berween the two mes, increasing the sense of urgency wale presenting the simultaneous events, This nvel offers srl taneous action a it bes. Plone lm director D, ‘W. Grit used Carls Dickens as an example ‘when he was ried for hs innovative editing of Inoleranee. Filmmakers determine tempo largely by the number of ats Fores, fimmaker can consact an ‘ntespestv dna rom 000 shots, whe an ation ‘lm may role 200 shots cr more Variations in tempo elptosurain interes. I teres litle Variation, a fat paced fms just as monotonous 3s {sow paced To develop momentum gradually, many fmmakers use a slow-paced beginning which Tull ta fast pace climax5, Connections that fimmakers make through eit creahagunemnssineiinl’ KEY QUeStIONS motivation fora character’ aeons na famous periment, ery Soviet maker Lav cHRonoLosy a ature, a baby, anda dead woman, When the «What would nappen yeu changed this for freedom when the landscape was shown, was ‘+ What would happen if you deleted half the fexponse tothe eng, 201 by any change in the Connections that occu through citing can subsannally ater frenhance ln’ meaning By euting from a bone spr ning in the aro a spaces tion orbiting he earth Stanley Kebrik connect prehistory to space tvel in 2001: Space (Ody (1958). Figure 13.38 pro- vides «mo personal ansiton between spaceship fcr Ellen Ripley andthe world she nha itn Ales, As he falls sleep her face merges with the outline of the EarthDirector Steven Spielberg used all these aspect of et Ingin Schindler’ Ls. Mixing contemporary images with blackandashite images of wartime Poland Spielberg els a harrowing tale ofthe survival of ovr 1,000 Jews during the Holocaust. Based on histor cal events, the fim shows the transformation of Nazi (Oskar Schindler from a single-minded war profes to ‘compassionate mn who eventually bought the ies of his enslaved workers. It isan increible story and any skilful maker could have made a gone movie based on this event. However, o show the complexities ofeach character and to turn te tory into tal com palling fn required another level of insight. Spelberg and his collaborators had tat insight Thecttca importance af edting is apparent em the start A presenti scene fa Jewish fully at home ends With tal of smote ising rom an extinguished candle (1340) Weeutts the smokestack om a tsi in wartine Krakow (1341 and are transported back n time dling alo establishes Schindlers moiation and ves usinsight int his personality, When he aervs at ‘eae favored by Naz ofits the maitre seats, ‘then asks a waiter who hei. Nether one knows his ‘name. Schindler carefully poston himself tthe center ofthe room. Through series of close-ups, we elo his ze as be notes the 88 insignia onan office’ unifxm nd assesses the importance ofthe reserved able sos the room. Using Schindler asthe axis, the camera pans sound the room (13.4). Poskianed jut over his shou er wo watch Schindler ashe aberves the soldiers He Aid not come to this estnrant et. He intends o meet the most influential Nazis the area and establish in self a man of consequence As he scene continues, Schindler joins the Nais and leads song. Finally the highest-ranking ocr ass tne ‘maitre about this neweomer. He now replies enthasias cally *Wiy thats Oska Sender” (1343), Shindler ho entered the restaurant as a nobody) is now vel Gefined: he has beeome the center of atention (134, ‘The evening hasbeen a succes Spielberg uses crosscutting throughout the i, both to-stablsh a connection andi emphasize separation, ‘Ta eviction of Jewish frail fom thee spacioushome ‘s immediately lowed by images of Schindler sane Ing the sume space, now is new home. He recline: on large bed and exclaims, “Ic couldnt be beter! (1343). “The destruction ofthe Krakow ghetto sa master pes of sortling Sound espe important in this sequence, and varations in pacing substantaly Increase the ial mac. The sequence begs as Nazi commandant Goeth gives his assembled troops 2 ‘rie histry lesson (1347). AS he desroes the asival cof he Jews in Poland Inthe fourteenth entry, we cut from te soldiers to senes of gheto falls quety eating and pepscing forthe day ahead, unaware oft teror to follow, We return to Goeth ashe concludes hisspeech, noting tha “by this evening those seen {ures area rum. They never exited Anexplosion of violence follows. Tho family at beast i now wrapping eel in Bread and et ing them, the hope of retaining something of vale ‘when the attack ends. xhak tera, the overworked eeountant upon whom Schindler depends despe. ly searches his pockets for idemtty papers as 3 folder cea in his face, The camer ised as tetfied people ae evicted fom their aptmen's Diagonal staircases and extreme camera angles increase compositional dynamism (13.49, ‘contrast between vlence and compassion fst and slow pace, heightens the impact ofthis sequence Running solders ignore an old woman who walks slowly down foggy see. yet mercies kil other ope, A doctor methodically adds olson cups of ‘yer then gent adminsters to his patients (13.49) rather han leave ther for the soldiers to il. A young Polish boy, signed to report any servos, instead saves the lie of a wornan and her daughter "We now se asl gi in ed coat walk ing through the sets (12.50) ar observed by Schindler, who surveys he action fro nearby hl ‘Accompanied by angelic music, she isthe symbl of al he innocent deaths on this Horrible dy. We ls see her as she soot under bed, seeking a place tide \Wevwill ot ee her gain until meh ae inthe fil, when ber red coat pear asthe corpses om the eto guldaion are gathered wo be harmed. We then cut she evicted family struating up he is f their new dling, which they ‘will share with many othe fails. As they sit down in the single rom, the wife notes, It ‘could he worse” Her angry husband epi “How ould it pony be worse” (1348). as. then, another large fai aplogeially nes Ito the ramped space. It no wore. aay(Quiet inaly descends onthe cig. The sldiss re now using stethoscopes olisten for sures wha ‘may have hidden in apartment wal na fil bast of violence, one solar play vigorous Bach gue hile ober solders explode into action, ring thet ‘machine guns ino the wal an commanding their dogs to atack The sequence even more righting. I would be impos sfbieo sustain a fast pace throughout the ln, Incessanehoror would have simply le ws numb The edng and use of contrast have greatly enhanced the power ofthe ghetto sequence, leaving a indelible im before the final stom makes tie > summary + An understanding of tine am essential aspect of any artwork Photographers Slmmakers, and performers ss time ect punters lvstrators, ceramics, fn other aris general use time indirectly The bldg bloeks ofl are the fra the shot, the sene, and the sequence. + Wecanrelate shots graphically, spatial > keyterms accents fade action-t0 fidelity action flashbacks transitions frame beat sraphic chronology relationship close-up Intensity, crosscutting lap dissolve cut long shot diegetic loudness dissolve ‘medium shot duration ‘montage edi nnon-sequitur ‘ermporaiy, nd rhythmically. The eu, fe, dsolve and wipe ae the soe common anton nlm, ‘Comic bok efor adtinal transitions aetion-o action, subect-o-subject, soene-t- seene, and non-soquitie + Duration, emo, tensity, scope soting and ehropology ae the sik major elements of time design pace spatial context pitch spatial plot duration relationship hth story duration hythmic subjectto- relationship subject seene-toscene takes transition tempo scope temporal sequence relationship setting ‘imbre shot wipe