Grammar of the Film Language by Arijon, Daniel -- Read -- Imperial Library of Trantor

Index

TITLE PAGE COPYRIGHT CONTENTS FOREWORD TO THE PRESENT EDITION INTRODUCTION ACKNOWLEDGEMENTS DEDICATION

1 FILM LANGUAGE AS A SYSTEM OF VISUAL COMMUNICATION

Beginnings of film language Types of film maker Forms of film expression Defining our aims

2 THE IMPORTANCE OF PARALLEL FILM EDITING

Two basic types Action and reaction Peak moments and the understanding How parallel editing is obtained A wider perspective

3 DEFINING THE BASIC TOOLS

Newsreel Documentary Fiction film Three types of scene Elements of film grammar The shot Movement Distances Types of editing Visual punctuation Scene matching Opposed glances Centre of interest alternates

4 THE TRIANGLE PRINCIPLE

Basic body positions Line of interest Importance of the heads Five basic variations of the triangle principle Emphasis by composition Types of visual emphasis Triangle principle: One person

5 DIALOGUE BETWEEN TWO PLAYERS

Face to face Number contrast Performers side by side Players behind one another Word of caution Camera distance Camera and actor height Subjects lying side by side Telephone conversations Opposed diagonals Translucent density masks Players reflected on mirrors

6 THREE-PLAYER DIALOGUE

Regular cases Irregular cases External/internal reverse camera positions Internal reverse camera positions Parallel camera positions Pivoting point Emphasizing the centre of interest Partial emphasis Total emphasis A ‘north-south’ to ‘east-west’ change Using only four camera positions Introducing internal shots Eight camera sites are employed A simple method using three camera sites Using a pivoting shot Deliberate omission Summing up

7 DIALOGUE INVOLVING FOUR OR MORE PERSONS

Simple cases 1. Using a common visual axis 2. Using a right angle camera site Groups arranged round a table Subdividing the group Geometrical patterns Several opposed sectors Handling large groups A performer faces an audience A crosswise change of the line of interest Crowd with main player at centre Actors as pivots

8 EDITING PATTERNS FOR STATIC DIALOGUE SCENES

Approaching and receding patterns How a sequence begins Re-establishing shots Importance of silent reactions Inserts and cut-aways Number contrast Parallel editing o f master shots Line of interest-changing sides Pause between dialogues Time compression Speeding dialogue tempo

9 THE NATURE OF SCREEN MOTION

Motion broken down Changing view with movement Using cut-aways Neutral direction Performer indicates the change Contrasting motions in the same half screen Conditions of the cut Where to cut Cutting on action

10 CUTTING AFTER THE MOVEMENT 11 MOTION INSIDE THE SCREEN

Turning Rising Using a common visual axis Brief summary A personal preference

12 MOTION INTO AND OUT OF SHOT

Multiple fragments Motion in three fragments

13 PLAYER A MOVES TOWARDS PLAYER B

Converging motion Right angle camera sites Reverse camera angles Parallel camera sites Common visual axis A walks beyond B

14 USING MASTER SHOTS TO COVER MOTIONS ON THE SCREEN 15 IRREGULAR CASES

Visual pause with larger groups The pause is omitted Using reverse angles Divergent motions Constant screen position for one player Both players move

16 PLAYER A MOVES AWAY FROM PLAYER B 17 PLAYERS MOVE TOGETHER

Intermittent motion

18 SOLVING DIFFICULT EDITING SITUATIONS

Movement between camera and static subject Motion at the beginning o f the second shot Motion beyond the static players Using right angle camera sites Both players move Hiding a moving subject in the first shot Using a strong foreground motion Substitution o f the static subject Redirecting attention Using non-human movement Parting curtain effect

19 OTHER TYPES OF MOTION

Circular movement Vertical movement Dynamic stops

20 TWENTY BASIC RULES FOR CAMERA MOVEMENT

Movement and the camera Basic guidelines for camera movement Solid dramatic motivation

21 THE PANNING CAMERA

Scanning panoramically Chase sequences Intermittent panning Full circle panning Fast panning In two directions Vertical tilts Side tilts Joining a static and a panning shot Editing two consecutive panning shots Acrobatic pans

22 THE TRAVELLING CAMERA

Intermittent action covered by a continuous tracking Joining a static and a tracking shot Intermittent camera tracking Using both sides of the track Winding paths Panning while tracking Camera and performers move in opposite directions Single file formations Tracking speed Subject approaches tracking camera Editing consecutive tracking shots Static shots intercut within a tracking master shot Circular tracking

23 THE CAMERA CRANE AND THE ZOOM LENS

Following action Foreground props stress height To visually unite two or more story points To inject movement into static situations To single out a story point in a panoramic movement To provide strong movement for cutting on action Zooming Zooming speeds Zooming and panning combined Tilt shots using zoom effects Camera tracks as it zooms Zooming through foreground obstacles

24 ACTION SCENES

Standard formulas The subjective point of view Five ways of enhancing visual action Reaching a visual climax Breaking the climatic action into several shots High speed and slow motion for action sequences Follow focus technique

25 EDITING IN THE CAMERA

Pre-planning is required The pause between movements The change of zone Approaching or receding from the camera Changing the body position Substitution by sectors Switching screen sectors Numerical contrast Editing within the film frame

26 MOVING FROM ZONE TO ZONE

General principles A group moving from zone to zone The group expands Two further variants A player moves, the other remains still The group contracts Devices for zone change

27 COMBINED TECHNIQUES

Shot by shot editing Merging the techniques Summing up

28 FILM PUNCTUATION

Transitions from scene to scene: fade out-fade in White-outs and colour fades Dissolve Wipe Iris Use of dark areas Titles Props Light change Question and answer A movement in the same direction Substitution of an object Word repetition A deceptive visual match Cutting around a prop A sudden close up Transition by parallel editing Scene openers The actor The camera Introducing points of view Abrupt jump cuts used as punctuation Jump cuts as time transitions Selected peaks of action Inaction as punctuation Single shots as pauses in narration An entire sequence used as a narrative pause Out of focus images as punctuation Dark screen used as punctuation Punctuation by camera motion Vertical punctuation Frozen frame In conclusion

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