By Noel Burch, Helen R. Lane
Concept of movie perform, trans. Helen R. Lane, Praeger Publishers, 1973; Princeton, N.J.: Princeton collage Press, 1981.
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One might perhaps wonder what purpose an analysis of the kind I am undertaking can possibly have. Even if it is readily conceded that systematic oppositions of off-screen and screen space constituted one of Renoir's essential tools and that a film made over forty years ago is a success largely because of this opposition, any attempted classi fication of the possible relationships between these two kinds of space is nonetheless apt to be considered sterile and pedantic today. Have I not simply been describing how every film is made?
This is, however, a problem that every film-maker should be aware of and seek to re solve in his own particular fashion, even ·if only in a purely empirical and practical way. Dynamic Articulations In the preceding pages of this chapter I have restricted myself to a discussion of the possible ways of creating graphic relationships be tween shots that are essentially static at the moment that the cut is made. But one can also cut, of course, from one shot to the next when some essential part of one or the other of them is in motion .
One might also add Vera Chytilova's admirable 0 necem i inem ( Some thing Different ) ; this film would have provided just as apt a chapter title as Renoir's Nana. 3 Editing as a Plastic Art hus far, I have examined the general nature of a filmed image and the articulations between such images without really con sidering what they actually look like. While still maintaining my "structural" approach, I might now examine both the image and the shot transition as concrete visual phenomena. T The Screen Image I might first venture to point out how the way in which we see differs from the way in which a camera sees, an ambitious and some what risky endeavor, which many others, notably Karel Reisz in his excellent Technique of Film Editing,1 have undertaken before me.