By Tara Forrest
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Additional info for Alexander Kluge: Raw Material for the Imagination (Amsterdam University Press - Film Culture in Transition)
Let’s try again. We add this insert shot. This works better. The pigs are afraid because of seeing the wolf’s tracks. We generally show the cause before the eﬀect. 54 Let’s try one more rearrangement. By adding the insert shot of the mother waving good-bye we can cut back to see the pigs are now out on the road. This creates a better ﬂow between the images. Any time we do not see the linear ﬂow of time because it is interrupted by another shot, we can assume more time has passed. We don’t have to show all of that walking.
Throughout the course of this book we’re going to learn the tools, tactics, and strategies to work structurally. What Is Character? Many books that I have found on filmmaking say that we willingly suspend our disbelief when we watch a movie. ” What is character? A character is a person represented on screen. A good character is one who appears believable, strongly wants something, and goes after it by taking action in his or her own unique way. Phil Connors in Groundhog Day goes after romance repeatedly.
Remember: Draw attention to one idea at a time, just like when speaking, and you need to make sure your drawings say what you think they’re saying. Every Shot Is a Close-Up What does this drawing say? Yes, someone’s stealing something. It’s the same action as before picking it up, but how do we know that it’s a theft. The answer is we really don’t know, but we’re guessing that what’s happening. We guess that it’s a theft because of the behavior of the person we’re watching. He is hunched over and looking around to see if anyone is around watching him.
Alexander Kluge: Raw Material for the Imagination (Amsterdam University Press - Film Culture in Transition) by Tara Forrest