RTF 305 Lecture Notes - Lecture 9: Sergei Eisenstein, Japanese Calligraphy, Eyeline Match
8 May 2016
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Week nine: the shot & shot progression. Ms: relationship info (character relates to others) In us cinema, continuity editing becomes norm: makes editing invisible. Stay on one side of the action the whole time (sports) Draw a line between elements of action (two people), stay on one side of the axis line, or the other. Maintains orientation for the viewer: shot/reverse shot, match-action shot, glance-object cut. Also, eye-line match, have characters tied together via looking at each other while only showing one character. Challenges to continuity editing: soviet silent cinema. Sergei eisenstein: using cinema to contribute to the revolution (didn"t work, however, influenced by japanese calligraphy. Eisenstein"s theory of dialectical montage: combine shot a with shot b to expose the viewer to idea c within their mind. Ex: his movie strike combined killing scene with slaughterhouse scene, which indicated brutal killing, killers as butchers. Film language, part 3, shots and camera angles: Power neutral (camera on same level as character)
