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:
“We are not permitted to choose the frame of our destiny. But what we put into it is ours.”
—Dag Hammarskjöld (1905–1961)
“Mead had studied for the ministry, but had lost his faith and took great delight in blasphemy. Capt. Charles H. Frady, pioneer missionary, held a meeting here and brought Mead back into the fold. He then became so devout that, one Sunday, when he happened upon a swimming party, he shot at the people in the river, and threatened to kill anyone he again caught desecrating the Sabbath.”
—For the State of Nebraska, U.S. public relief program (1935-1943)