Frame and Shot
That which is within the frame (characters, props) is a relatively closed system, and can be treated as a spatial composition. However, it can never be completely closed, because of the way it can define the "out-of-the-frame". This is particularly apparent in the films of Michelangelo Antonioni. Deleuze defines the shot (which is dependent on the position and movement of the camera) as the movement-image (p22). The mobile camera acts as a general equivalent to forms of locomotion, for instance walking, planes, cars (p22). The great moments of cinema are often when the camera, following its own movement, turns its back on a character (p23). In this way, the camera acts as a mechanical consciousness in its own right, separate from the consciousness of the audience or the hero (p22). Montage (the way the shots are edited) connects shots and gives movement, even when the camera is not mobile.
Read more about this topic: Cinema 1: The Movement Image
Famous quotes containing the words frame and/or shot:
“she drew back a while,
Then, yielding to the irresistible joy,
With frantic gesture and short breathless cry
Folded his frame in her dissolving arms.
Now blackness veiled his dizzy eyes, and night
Involved and swallowed up the vision; sleep,
Like a dark flood suspended in its course,
Rolled back its impulse on his vacant brain.”
—Percy Bysshe Shelley (1792–1822)
“When they shot him down in the highway,
Down like a dog in the highway,
And he lay in his blood on the highway, with the bunch of lace at
his throat.”
—Alfred Noyes (1880–1958)