![]() ![]() Ken Dancyger, The Technique of Film and Video Editing: History, Theory, Practice, fifth edition (London: Focal Press, 1993), pp. 1 (Berkeley: University of California Press, 1958, 2005), p. This process is experimental and the keywords may be updated as the learning algorithm improves.Īndre Bazin, ‘The Evolution of the Language of Cinema’, What is Cinema? Vol. These keywords were added by machine and not by the authors. Dancyger argues that a faster pace causes events to feel more important to an audience. Pace, subjectivity and close-ups are used to intensify the montage sequence. It can be dreamlike with no narrative continuum. ![]() The music video creates a feeling state, synthesizing human emotion from the music. Time and place become less important within the montage sequence time can be any time, and place can be any place. Dancyger says the montage sequence is abundant in terms of style, and that style is placed above narrative within these sequences. 2 The centrality of pace in the music track provides the style for the montage itself. ![]() Ken Dancyger notes how, over the last 30 years, the montage sequence has been shaped by the arrival of MTV but also by earlier forms, such as experimental filmmaking, and television commercials. 1 Within the montage sequence, speed has a particular impact for an audience. Emphasising the importance of speed to the moving image, Andre Bazin noted that speed is implied by ‘a multiplicity of shots of ever-decreasing length’. ![]()
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