فصل الحركة ، آلة التصوير المتحركة ٢-a .. كتاب فهم السينما

It is the exit first to one of the characters, then to the other, then to the three, then it repeats back and forth throughout the duration of the shot. The three characters are engaged in suppressed dialogue the entire time. And since the scene is filmed in the range of a medium shot, the rotation of the appearance is such that it cannot go unnoticed. This is Truffaut's way of emphasizing the characters' sense of this confusing tripartite situation.

The flash turn (also called the flash turn and the enveloping turn) is a variation on these techniques and is often used to transition between the two cats as an alternative to cutting. What a flash rotation means and implies is that the camera moves at a speed at which only blurry images are recorded. Despite the fact that a quick turn actually takes longer than a cut, a fast turn connects one scene to another with a greater sense of immediacy than the cut would suggest. For this reason, a fast turn is often used to connect different events in different locations that would otherwise seem far apart. some. In the movie The Crazy Bunch, directed by Sam Kinnaba, the director uses closing turns as reaction shots within the same scene. The result is an effect that gives us instantaneous violence and speed.

Some directors use shots attached to a quick turn to suggest a symbolic connection rather than a physical one, because these turns tend to confirm the link in general. (203). In John Frankenheimer's The Manchurian Candidate, Frankenheimer uses a 360-degree turn with great audacity and intelligence in a number of dream clips. Some American prisoners of war have been brainwashed and are being shown to a group of communist observers in a semicircular space in a laboratory. During the clips we also see What the prisoners think is going on in front of them is that they are booked into a hotel in New Jersey and are listening impassively to an agricultural lecture given to a group of Jewish widows. By cutting the circular roundness by implicitly cutting it into two “truths”: the first, the Korean, was done It is about Jewish women who are unreasonably associated with communist observers and the second is about dreamers (who are still brainwashed after several months) and who cannot understand this strange mixture of locations, characters and events. Frankenhas uses the circular recurring pattern as a metaphor for psychological insistence, a programmed pattern that "starts with circuit interruptions" after the prisoners are released and sent to America.

These same general principles apply to most vertical turns. Vertical rotation involves the vertical movement of the camera around its axis. Vertical rotation can be used to keep the subject within the frame, to emphasize the psychological and inter-spatial relationships, to suggest instantaneous presence, and to emphasize the relationship between cause and effect. Vertical rotation, like horizontal, can be used by itself in snapshots that represent a point of view. The camera can make us feel the character looking up or down the scene, for example. Since vertical rotation is a change in angle, it is often used to suggest a psychological shift within the personality. When you turn downward at eye level, for example, the person being photographed suddenly appears to be putting the camera in harm's way.

camera. Shots carried on a cart, sometimes called follow-up shots or the rail, are filmed from a moving cart called “dolly” (3) (21) The rails are sometimes thrown into the scene to allow the cart to move easily, hence the term rail cat. And if the shot covers long distances, the rails must be lifted and repositioned from time to time during entry and exit, and today every movement of the camera from a carriage is referred to as a follow-up shot. The camera can be mounted on a car, a train, or even a horse. One of the most impressive follow-up shots in Joules on a Wheel is a Bicycle. The scene itself is a trip on a wheel in the countryside, and in order to ensure the graceful, poetic movements of the characters on their wheels, Truffaut set up a machine that took the Photography in a hurry. It is not necessary for the cart carrying the camera to be complicated in order to save money and obtain the greatest degree of freedom of movement. Director Jean-Luc Codar tied his cameraman to a wheelchair the type used by (patients) and he himself pushed this poor cart. This is how it was. A follow-up shot at the end of Self-Cut where the camera follows the protagonist with
Fleeing through a city street Follow-up is a useful technique in point-of-view shots to create a sense of movement in and out of the scene. If the director wants to emphasize the ultimate goal of a character, he is more likely to use a direct cut between the beginning and end of the action. If the sense of movement itself is important, then the greatest possibility is that the director will follow up, and so if the character is searching for something, then the follow-up from a point of view, which takes a long time, helps increase expectation during the search. Likewise, we find the regression follow-up an effective method of surprising the character (and the audience) with a sudden new reveal, as by regression the camera reveals something terrifying, a corpse, for example (3-22).

A well-known function of the follow-up shot is to create an ironic contrast to the dialogue. In Jack Clayton's Eating Trees, a tired wife (Anne Bancroft) returns to Her ex-husband's house, where she has an obscene meeting with him. The wife asks him, while they are lying in bed, whether he was in pain as a result of their divorce and whether he missed her. The husband assures her that he was never affected by the divorce, but while their voices continue on the audio tape, the camera creeps slowly, denying his words, as it passes through his living room, revealing pictures, memories, and souvenirs from his ex-wife. This shot is a kind of direct communication between the director and the audience. Snapshots of this kind can be compared to the omniscient speaker in the narrative structure, since they provide the reader with information that the characters do not have. These techniques are deliberately authoritarian interventions favored especially by filmmakers who view their characters with suspicion, sneering at Kodar and Hitchcock, for example.

Follow-up shots are also used for psychological detection. The director approaches by taking a follow-up shot towards a character to reveal something of great importance. The movement itself plays the role of a pointer to the audience to suggest that we are about to witness something important. Cutting into a large shot confirms the speed of discovery, but a slow portable shot suggests a gradual and difficult discovery. 3 (23) In the movie The Burial, directed by Clive Donner, the film is known by another title - The Guest - this method was used several times. The film, based on a play by Harold Pinter, is about two brothers and an old drifter trying to pit one brother against the other. The dialogue does not help to understand the characters, and this is the case in Pentner's texts. The words seem to have been lost on topics that are not important at all. The two brothers are different in most respects. Mick Alan Bates is aggressive and Aston (Robert Shaw) is a polite and introverted gentleman. In both scenes, the camera slowly progresses from a distant shot to a large shot. During these two shots, the camera gradually scans the psychological core of the characters.