8/13/2019 Cinema 1 (Notes)

1/3

Chapter 1 Theses on Movement (First Commentary on Bergson)

Cecil B. de Mille (cinema)Peirce(logician)

Bergson (Matter and Memory) {Movement-Image, Time-Image)(Creative Evolution)

First Tesis! movement is distinct "rom te s#ace covered, s#ace covered is #ast, movement is #resent,te act o" covering.

Creative Evolution, $%&'

econd Tesis! #rivileged instants s. any-instant-*atever

+enders (director)Eisenstein (director)

Fred staire (director)

Tird tesis! movement and cange

translation in s#ace causes a cange in te +ole.

immoile sections movement / movement as te moile section 0ualitative cange

te *ole is neiter given nor givale, it is 1#en

sets as closed systems, connected to te *ole troug

movement as t*o as#ects

$) tat *ic a##ens et*een o2ects or #arts

3) tat *ic e4#resses te duration or te *ole.

movement lin5s o2ects o" a closed system to duration, and durations to o2ects o" te system *ic it"orces to o#en u#.

immoile sections / o2ects or #arts o" a set

moile section o" duration / movement, e4#resses te canging o" te *ole, relats #arts to te durationo" te *ole

te tree tese!

tere are not only instantaneous images, immoile sections o" movement6tere are movement-images *ic are moile sections o" duration6

tere are "inally, time-images, tat is duration-images, cange-images, relation images, volume images*ic are eyond movement itsel"

8/13/2019 Cinema 1 (Notes)

2/3

Chapter 2 Frame and Shot, framing and cutting

The first level: frame, set and closed system

"raming - te determination o" a closed system, a relatively closed system *ic included everyting icis #resent in te image

7ac5oson812ect-images9Paolini:cinemes:

+ylerltmanHitchcock(Suspicion, Rear Window, Spellbound)

ntonioni;odard

e*man (Sometimes a $reat %otion)

8Te screen as a "rame o" "rames gives a common standard o" measurement to tings *ic do not ave

one - long sots o" te countryside, and close-u#s o" a "ace, #arts *ic do not ave te samedenominator o" distance relie" and ligt. In all tese sense te "rame ensures a deterritorialisation o" teimage.9

Framing is te art o" coosing te #arts o" a set. tis set is a closed system relatively and arti"icially

closed. te closed system determined y te "rame can e considered in relation to te data tat itcommunicates to te s#ectators it is :in"ormatic:, and saturate and rare"ied. Considered in itsel" and as alimitation, it is geometric, or dynamic-#ysical.

Conclusion

considered in te nature o" its #arts it is still geometric or #ysical dynamic it is an o#tical system *en itis considered in relation to te #oint o" vie*, to te angle o" "raming it is ten #ragmatically 2usti"ied, orlays claim to a iger 2usti"ication. "inally it determines an out-o"-"ield, sometimes in te "ormo" a larger set.

The second level: shot and movement

Elli#sis in narration e4am#le ?itccoc5 (!ren&y).

Te sot unites and divides sets, it acts li5e #ers#ective , te sot is li5e a cinematic consciousness.

Murnau (!aust)

+elles (The Trial)

?ori@ontal liner "ligt circular s*ee# vertical a4is doing a ig or lo* angle sot "rom a eigt.

=eed (The Third 'an)

?itccoc5 (erti"o, sycho, %orth by %orthWest)

=enoir

Te sot is te movement-image.

Aing idor (The #rowd) (sot o" cro*d ten camera goes u#to 3&t"loor )Marnau (*ast *au"h) (icycle li"t scene)

+enders (+in"s of the Road, lice in the #ities)

E#steinTe sot is a moile section or tem#oral #ers#ective or modulation.

8/13/2019 Cinema 1 (Notes)

3/3

Potgra#y li5e a mould, modulation a 5ind o" tem#oral mould.

Moility! montage and movement o" te camera.