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of the languages science, because and art. it combines Cinema involving and utilizes
contemporary
technology,
of reality,
emulsion
cultural
associations.
to me to and
of time extended
into space
objects,
both animate
inanimate,
that convey
emotional
and intellectual
As a language, sors
then, cinema
for whatever
purpose
its possesdiscipline,
to zen lyrics.
As a humanistic
however, renders
and growth depend upon its unique grammar, useful, whether it be mere may emerge of differences craft or artistic and which,
is truly the hub from which spokes Grammars, actually, are notations
which enable
with an occasional
sion. It may be argued that the study of grammar is not essential tour through Europe; similarly,
of experience.
is subject
to the similar
or audience
hu-
is not to be
taken for granted. "Hundreds of people can talk," observed Ralph Waldo Emerson, "for one who can see." All too obviously, seeing is reality. perception is awareness,
The grammar
tyranny of the fixed frame. The most immediate of the dictators has been the proscenium stage, and the most ancient has been the dictatorship of the painter's frame.
Time restricted
by space is the only, or sole, inheritance cinema has acquired from Space need not be restricted or
confined by frame any more than time is strictly to a matter of consecutive seconds. Curiously, this is also true in the novel. Alfred Kazin has taken Lawrence Durrell to task: "When Mr. Durrell so sharply separates
something which in the representation
since we do not think of space apart from time." Men think generally of time in terms of three grammatical categories: past, present, and future. Cinema has past, present, and future, and more so. Movement within the frame may be normal, slow, or fast. The frame, through pans, tilts, and tracking, may have similar velocities In addition to camera-controlled
frames future. themselves, edited motion
is more variable
There are two types of present time in cinema: first, continuous, the approximation of sixty seconds to the minute, the matched cut, the unity of time and space in the continuity of an uninterrupted rhythmic flow. Mainly, the camera records, the edit records. Secondly, the parallel present. simultaneous time. We may, literally,
Intolerance, in four places
We may experience simultaneous space at be in two places at once, or, in the case of
ages simultaneously in an aesthetic as
at four different
well as an intellectual sense. There are also two types of past time in cinema: first, the flashback, when
time is distinctly previous, though its unfolding may be continuous, but of that time.
Thus far the flashback, or past time, has been primarily narrative. cism."
sumes
this need not be the case, as Bertrand Russell observed in "The Limits of EmpiriH. H. Price developed the thought in his book, Perception:
that there is, in fact, a universal correlation between
two different
events, it is possible to infer from an occurrence of one an instance of the other, with equal validity, whatever may be their temporal relationship;
legitimate to say that the future 'determines' the past in exactly
so that it seems
the same sense in
is a slower-than-continuous
of the present with part of the past. Like the Bunny Dance among the Sioux, there is a step backward for every two forward. A minute may acquire, thus, more than sixty seconds. The slowing down is an edited factor, not done by shutter speed. edit, or jump cut, acFuture appears to be simply future: an accelerated
complished by editing. Acceleration within the frame, another camera trick, also reduces the sixty-seconds-to-the-minute rhythm. Both the accelerated edit and the fast shutter speed are examples of future time brought closer to the present perception.
meaning,
offered
as a guide,
not a decalogue,
of cinematic
PAST 4< (five techniques) Slow motion within frame Slow pan or slow truck Flashback
FUTURE (four techniques) Accelerated editing Fast pan or fast truck Fast motion within frame
Normal pan or normal truck Continuous editing Parallel editing Decelerated edit of temporal alterations
recognition
of space
and objects
may edit,
movement, edit,
movement,
(5) parallel
Velocity, of subject,
which may vary in any and all of the seven camera movement, and shutter speed.
is in terms
A final word about the films: dating of the Kuleshov-Pudovkin props Center, titled are modernized;
Associative
"short," Mosjukhin.
an upThe
experiment
it is the first
Harvard's
are numbered,
labeled
undergoing
of inquiry are,
of apperceptive receptional
prior to viewing,
attitudes
of optical intelligence.
and finally
(5) instruction
in visual
Professor
Gessner's
of Time.
variables example,
mentioned
in the article
similar
effects;
for
the movement
can be achieved
through
object movement or camera movement or even by changing lighting. The effects in Professor Gessner's film are pure cinema - I could find no way, alas, to reproduce
pages of this journal. The Editor.