فصل المونتاج ، الأسس : دي. دبليو كريفيث ٢-a .. كتاب فهم السينما

A series of sequential clips of these sequences represent a kind of cause-and-effect psychological model. In other words, separating the shots is justified on the basis of dramatic rather than material necessity, since the scene can be depicted with the same illustrative ability with a single distant shot from one place at this level of complexity.

During the golden years of the American studio system, roughly from the 1930s to the 1950s, film directors were often pushed or forced to adopt the basic shot style of photography. This method involved filming the entire scene uncut in a long take. The operation of the camera included all the dramatic variables, and from here it was used as a basis or a basis shot for the scene. The verb was repeated after several times, with the camera filming medium and large shots of the different basics in the scene (4-4). When the photographed feet were added together, the editor had a number. Choices to build psychological continuity. Disputes often arose over the appropriate sequence of shots. Some of the respected actors were, in fact, putting clauses in their contracts stipulating a minimum number of large shots in one film, regardless of the subject matter. It was often for the director to control the “first cut” (4، 5) But for the most part, the studios controlled the final cut under this system, and many directors disliked the exact basic shot style because with this amount of feet available a willing producer could build a completely different continuity. Avoid the hitchhikers who are allowed The basic shots to protect himself against interference and his methods of filming to this day are economical, almost devoid of the possibility of changing his scenes, otherwise the sense of the scene will be damaged. In fact, Hitchcock's texts are so accurate and detailed that there is little left for the producer to do if he decides to re-edit a clip. The film (Rear Window), for example, left only a hundred or so feet of excess after making the final cut.

Needless to say, Hitchcock's degree of accuracy is rare, or unique in fact from a cinematic point of view. The base shots are still used by many directors, especially the inexperienced ones, as the editor without the presence of the base complains of insufficient filmed feet and the inability of the footage available on (Link) easily. Even an inexperienced director like Arthur Penn seems to have fallen short in the film Big Little Man (which was edited by Did Allen, who was responsible for the fantastic chopping of Bonnie and Clyde). Because of the insufficient footage, the viewer cannot identify the footage Pictur is from the location of General Custer and his men, nor where the Indians come from or go to. In particularly complex battle scenes such as these, it is likely that most directors have a number of coverage shots, i.e. general shots that can be used as transitions for the purpose of re-installing a clip if other shots fail to connect with each other. In the movie Birth of a Nation, Criffith used a number of cameras to film a number of battle scenes. It is a style also used by Kurosawa in some clips of the movie The Seven Samaritans. Director Frank Capra