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:
“Whenever the society is dissolved, it is certain the government of that society cannot remain ... that being as impossible, as for the frame of a house to subsist when the materials of it are scattered and dissipated by a whirlwind, or jumbled into a confused heap by an earthquake.”
—John Locke (1632–1704)
“If you complain of people being shot down in the streets, of the absence of communication or social responsibility, of the rise of everyday violence which people have become accustomed to, and the dehumanization of feelings, then the ultimate development on an organized social level is the concentration camp.... The concentration camp is the final expression of human separateness and its ultimate consequence. It is organized abandonment.”
—Arthur Miller (b. 1915)