فصل المونتاج ، الأسس : دي. دبليو كريفيث ٤-a .. كتاب فهم السينما

There are no fixed rules regarding rhythm in films. Some directors cut according to the musical rhythm - the march of the soldiers, for example, can be produced with the blow of the military melody. In some cases, the director cuts before the peak of the content curve. Particularly in highly anticipated segments, a director such as Hitchcock antagonizes the audience by not giving it the time necessary for it to embody all the meanings of the shot. Antonioni, on the other hand, cuts in many of his films far behind the peak of the content curve
(4 ,9) Violence scenes are usually cut in a manner Very fragmented, however, in the movie Bonnie and Clyde, the group throwing clip, which is exciting to escape from the motel, was filmed in a long shot and a few cuts. It is this composition that shows us the scene's spontaneous mixture of comedy and daring.

Decency is another principle of montage that is difficult to generalize about, as it is a family that depends on it a lot within the context. None of us want to be referred to the obvious matter, whether in real life or when we watch the cinema. Directorial decency, like personal decency, is a matter of restraint, good taste, and respect for the intelligence and sensitivity of others. Directors often give us free emotional shots to make sure we don't miss a thing. Each emotion is milked to depletion by piling one big cat on top of another big cat.

Craffith pushed his montage style in the movie Fanaticism to the maximum possible extreme, that is, what we call montage according to the subject or content. This more complex style of pieces confirms the interconnection between certain mental perceptions, regardless of the communication between real time and space. Homogeneity is achieved in the movie (Intolerance). For example, through the topic of the inhumanity of man with man, instead of telling us one story, Krivith presents to us four different examples of fanaticism, one of which takes place in ancient Babylon, the second deals with the crucifixion of Christ, and the third deals with the massacres of Huguenot Protestants in the sixteenth century in France, and the last takes place in America in 1916, which is The year in which the film was produced, the stories were not developed separately, but rather in a parallel manner in which scenes from one time period intersect with another. The story of Christ. The last clip of the film contains literally hundreds of shots juxtaposing images that are thousands of years apart in historical terms and miles in geographical terms. All these different periods and locations unite in a central theme, fanaticism. Continuity is no longer just a physical continuity, not even a psychological one in the first place, but an objective one. with scenes from Although the movie Tasob did not achieve commercial success, its impact was enormous. Filmmakers in the Soviet Union were particularly impressed by Krivith's film and put their theories into montage based on his practices in this film.

Criffith inserted flashbacks into many films in order to temporarily suspend the present time. Thus, Criffith established the principle of the temporal verb form in cinema, and prepared for future directors to stop the present time by inserting parts of them not only from the past, but from the future as well (4-10) in Dennis Hopper's famous movie (The Easy Rider), for example, the hero (Peter) (Fonda) dreams of a kind of Dreams of a prophetic vision of his death (in Sydney Pollack's They Throw Horses, Don't They?) We find brief futuristic clips of a trial scene flashing here and there through a story set in the present tense. These short futuristic clips suggest a sort of antagonistic determinism like the dance competition of the story. The future has been assembled and personal effort equates to self-deception.

In You'll Ask Donin (Two on the Road) we find one of the most difficult uses of the complex technique represented by The Returning Cat. The story is From the development and then the gradual dissolution of a love relationship, and the narration follows in a series of mixed return snapshots. The snapshots of returning to the past are not in a coordinated time sequence and are not integrated in any one scene. To complicate matters, most of the back-and-forth footage takes place on the road during the various travels the couple have taken in the past. For each time period of the film, one of the letters was allocated: A, B, C, D, and E. The temporal structure can be tabulated as follows: e (present), a, distant past), b, c, d, b, c, dr b.. and we end with the letter e. The audience gradually learns to distinguish each period of time through various indicators of continuity such as the style of the ladies' hairdo, the modes of transportation, and the particular crisis during each journey. 11) This method is for the artist to develop ideas in terms of the subject and not the temporal sequence, and enables him to assert the subjective nature of time.

Criffith expanded the art of montage from its raw beginnings to perform a wide variety of functions: changing filming locations, time lapses, diversification of shots, emphasizing psychological and physical details, overshots, symbolic breaks, parallelism, contrast, interdependence, shift in point of view, synchronization and repetition of pointers. In addition, Criffith's method of montage was more economical, as similar shots on the subject can be collected together in the filming program, regardless of their places, "time" and "place" in the final film. Film budgets benefited later, especially in the days of high-paid stars, as the director could film all the filming clips of the star in a short period away from cinematic continuity, leaving details (very distant shots and large shots of things and other actors) to be filmed at another suitable time later. The shots are in their proper sequence on