فصل المونتاج ، الأسس : دي. دبليو كريفيث ٣-a .. كتاب فهم السينما

number of cameras were used even in relatively simple scenes in order to ensure a sense of homogeneity and spontaneity in the performance of the actors (4-6).

Criffith became particularly famous because of the cruiser and rescue clips that usually closed his films. Most of these clips were presenting a parallel montage or exchanging shots from one scene to another and in a different location. At the end of the movie (The Birth of a Nation), Criffith crosses between four groups, a group of white people trapped in a wooden room, a group of white guards rushing to save them, and noisy negroes They go forth, and the heroine is forced into a marriage she does not want. Despite the disturbing racism, the clip still stirs emotions strongly. By juxtaposing shots of four of four scenes, Craffith was able to deepen the anticipation by reducing the length of the shots as the clip approaches its climax (4 - 7).

In general, the more times the cuts are made within the scene, the greater the sense of speed that these times express. In order to avoid monotony during the clip, Craffith changed the locations of the camera several times. There is a very distant shot, another long one, medium shots, large shots, different shooting angles, light contrast, and even the movement of the camera.

If the continuity of the clip is reasonable, then the fragmentation of the place does not pose great difficulties, but the problem of time is more difficult to solve, as its treatment in the film is more subjective than the treatment of space. to minutes. Few movies, perhaps as many fingers on one hand, try to match screen time to real time. Perhaps the film by Aknes Farda (Cleo from Five to Seven) and Fred Zinnemann (Noon) are among the best-known examples of this (4-8). Realistic practice creates time as if it were a kind of oblivion, as time, as long as the audience is absorbed in the act they see on the screen, depends on what the film assumes.

On a very mechanical level, screen time is determined by the physical length of the film containing the clip. This length is generally governed by the complexity of the content material in the image. The distant shots are mostly saturated with visual information density more than the large shots, and therefore must remain on the screen for a longer period, claimed Raymond Spotswood. In which the audience is able to digest most of the information contained in it. Cutting past the peak of the content curve gives us a sense of boredom and a sense of slowing time. Post-climax cuts offend the audience's understanding of the information. A picture with a complex mise-en-cine takes longer to digest than a simple shot, but once the picture is finished, the return to it during the clip is much shorter. That snapshot is installed

However, the time-sensitive treatment of montage defies mechanical rules. In fact, most directors edit their own films or work with the editor in close cooperation, because this art is of paramount importance to the success of the film. Like most great directors, Criffith had an instinctive issue.
An unmistakable sense of rhythm. Rhythm or “speed” is what makes the time in the film convincing. The best clips are decided by the atmosphere of the film as well as the subject matter. Criffith, for example, usually produced love scenes in long raps with relatively few camera positions. The cruiser segments and the mayhem scenes, on the other hand, were made up of quick cuts crammed together with unexpected inconsistencies that the love scenes really compressed in real time while the quick cuts were drawn out.