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:
“With its frame of shaking curls all in disarray,
earrings swinging,
make-up smudged by beads of sweat,
eyes languid at the end of lovemaking,
may the face of the slim girl
who’s riding on top of you
protect you long.
What’s the use
of Vi.s».n»u, iva, Skanda,
and all those other gods?”
—Amaru (c. seventh century A.D.)
“In health of mind and body, men should see with their own eyes, hear and speak without trumpets, walk on their feet, not on wheels, and work and war with their arms, not with engine-beams, nor rifles warranted to kill twenty men at a shot before you can see them.”
—John Ruskin (1819–1900)