Montage of attractions or Soviet montage combines images to create an overall impression, build meaning and make connections between images and ideas. Learn more about Soviet montage. Start Making Movies is an easy to understand, page PDF guide that shows you how to start making short films and videos.
It uses clear explanations and hundreds of illustrations to introduce equipment, the filmmaking process, film language and film storytelling. Check our help guide for more info. Coverage You need to film enough shots to show everything you need to show. What is the selected sequence "really" about?
What aspect of the story does it establish, revise, develop? How do the visuals express it? How is the story told? Can the sequence be divided into individual segments indicated, for instance, by shifts of location, jump in time, intertitles, etc.
Assuming the film's story consists of many "wisps of narratives," all intricately intervowen with each other, how many simultaneous narratives substories does the sequence contain? Is there a recognizable source of the narration? Voice-over or off-screen commentary? What is the narrator's perspective? Does the film acknowledge the spectator or do events transpire as if no one were present? Do characters look into the camera or pretend it is not there, for instance?
Does the film reflect on the fact that the audience assumes the role of voyeurs to the screen exhibition? Does the film reflect on its "constructedness" by breaking the illusion of a self-sufficient "story apparently told by nobody"? Are there intertitles, film-within-film sequences, obtrusive and self-conscious "un-realistic" camera movements calling attention to the fact that the film is a construct?
How does the film position the viewer vis-a-vis the on-screen events? Are we made to favor certain characters, to respond in certain ways to certain events say, through music that "tells" us how to respond or distances us from the action? Does the film appeal to certain expectations, i.
We expect a man dressed in black shrouded in a shadow to be sinister, for instance. Does the film subvert these conventions or conform to them? What kind of conventions are they? Does the film play with certain genre expectations comedy, melodrama, western, science fiction, documentary, etc. Does the narrative as encapsulated in the sequence express indirectly current political views?
Does the film sequence conform to, affirm, or question dominant ideologies? The filmmaker stages and event to be filmed. What is put in front of the camera? How does the staging comment on the story? How does it visualize the main conflicts of the story? Ernest Lehman's handwritten screenplay for "cropduster scene" in Hitchcock's North by Northwest Also, a portion of the typed and formatted screenplay from The Matrix All rights reserved.
Filmsite: written by Tim Dirks. Search for:. Facebook Twitter Email. Examples: Bernard Herrmann's memorable score with screeching violins for Hitchcock's Psycho or the score for The Wizard of Oz I will contrast these two models below, after first defining the terms 'Sequence' and 'Scene'. The Journal of Screenwriting paper that describes the Sequence Model uses a carefully reasoned definition of 'Sequence' and 'Scene'.
Space in the journal, however, restricted being able to fully explain demonstrate these definitions. As noted in the paper, credible authors use difference definitions for example: McKee, Field, Cowgil and Karetnikova : ' Sequence' and 'Scene' are to some degree ideosyncratic constructs.
For the purposes of analysis and the development of the Sequence Model, composite definitions of 'Sequence' and 'Scene' were derived by combining the wordage of these authors' definitions. For clarity, I shall now illustrate the derivation and definition of Sequence and Scene and Shot by using On the Waterfront.
Definition of 'Shot'. Watch the following clip until the min mark and refer to the Figure above. On the Waterfront opens with a daytime waterfront view of the Longshoremen's Union cabin perched on a wooden wharf with a huge ocean-going liner docked behind.
Five men emerge from the cabin Terry Malloy, his older brother Charlie, Johnny Friendly - the corrupt Longshoremen's Union boss, and two thugs and walk up a wooden gangplank towards the shore. All of these images and events are filmed in a continuous single 'take' by the camera.
This constitutes 'Shot 1'. The camera perspective cuts to a closer view of the men arriving at the top of the wooden ramp next to a car. Friendly pushes Terry, who then walks off in another direction with an expression of resigned reluctance on his face. Clearly, Terry is being sent to do something. This is 'Shot 2'. Finally, the camera cuts to a night time view that begins 'Shot 3' at min.
This difference between day and night shows us that a significant amount of time has passed since Terry left Friendly at the wharf.
Terry's location has changed too. Definition of 'Scene'. At the end of Shot 2 min , we are left with the questions: Where is Terry going and what will he do when he gets there? Hit the Start button of the clip above and watch until the end of the clip at min.
Shot 3 is a night time view of Terry from above as he walks down a dark alley. The camera cuts to a closer view of Terry as he stops walking, looks upwards and calls, "Joey," Shot 4.
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