Past and Present in a linear mode; techniques of memory and hallucination
in the narrative film.
Spatial and Temporal Unity; the continuity system ensures narrative
continuity, the role of the film editor (James Bond film). The 180 degree
system eg North by North West, The Shining.
Some types of transition
Cut ; one frame flipped to reveal another instantaneously; jumpcut,
a break in a shot's continuity of time by removing a section from the
shot and splicing back (Godard); match-cut a transition from one shot
to another to match eg the bone to space ship in 2001.
Super, superimposition`, the printing of 2 shots on the same length
Dissolve (or mix) the end of one shot merges slowly into the next.
Wipe ; a second shot appears and wipes off the first; can be flipover
wipe, soft edge wipe,and in various directions.
Iris-in and iris-out, shot opens with expanding or contracting circle
of light (Night of the Hunter)
Streets of Fire (Walter Hill, 1984); after the kidnap of rock star Ellen
Aim, a bar owner in this fable sends for her brother to come and rescue
her. Hill is a writer and editor of great accomplishment, here using
some interesting devices.Citizen Kane.(Orson Welles, 1941), dissolves
achieved in the camera to depict the deterioration of a marriage in
an economic yet vivid way.
Spatial and Temporal Discontinuity
Jacques Tati and the 360 degree space, Monsieur Hulot's Holiday (1953)
Godard and the jump cut (Breathless,1959 not illustrated)
Dziga Vertov and the layerings and distortions of The Man with the Movie
.ambiguity of cross cutting/ split screen, (de Palma Blow Out1 1981)
setting up a series of cross references in the narrative in the title
Material for debate
In narrative terms what effect do the following films aim to achieve
and how do they achieve it ?
It may be convenient to look at the way dreams are portrayed,
Raising Arizona (Coen 1987); having kidnapped a perfect little baby,
the male lead dreams of the Last Biker of the Apocalypse, so keep your
Rumble Fish (Coppola 1983); the male lead is cornered and mugged in
an alley. As his jacket is being searched he imagines in a dream how
his friends will greet his death.
Manchurian Candidate (Frankenheimer 1962); Sinatra as a soldier back
from captivity in Korea. He has been brainwashed and only in dreams
does he decode the ordeal of testing the captive's consciousness.
Spellbound (Hitchcock 1945, the narrated dream) Gregory Peck seeks to
explain a recurring dream, here designed by Dali for Hitchcock. The
wheel in the hand is.... a revolver. Hitchcock's brief flirtation with
Vertigo (Hitchcock 1958, the dream experienced), Scottie has seen the
woman he was hired to protect fall to her death. He believes that in
another life she was Carlotta, a 19th century beauty, identified in
the film by her posy of flowers. In Hitchcock's dream sequence he uses
many devices to show the sense of guilt, the sense of oppression and
the hero's vertigo.
We'll look in detail at the ways the
The disturbed sleeper
sequence of images
manipulation of the image