![]() shots of the hero coming to the rescue with shots of the heroine in distressĪ succession of shots which represent a continuous temporal progression as in the theatrical sceneīrief scenes lacking syntagmatic development, linked by montage, yet occurring in a chronological sequence (i.e. Two or more motifs are interwoven in alternation to present various viewpoints of a simultaneous action: i.e. Two or more motifs interwoven in a pattern of alternation (A/B/A1/B1)īrief scenes that lack syntagmic development and chronological relationship yet are linked by montageĪny sequence of shots that describe a locale rather than show an action ![]() The following are distinguishing features in the organization of film: Autonomous ShotĪ single shot that constitutes a primary unit of the plot, as either a shot-sequence or an insert William Guynn in A Cinema of the Non-Fiction quotes Christian Metz in regard to montage: "Cinema begins with the sequence of images it is above all by the ordering of these images that cinema can organize itself into a discourse." 1 Guynn goes on to explore the organization of documentary based on Metz's codes of sequencing. The first can be considered static, the second dynamic. Montage is how these shots are presented together. Mise-en-scene is the chosen design and arrangement of a particular shot. The paradigmatic and syntagmatic elements of film are reflected in the mise-en-scene and montage. In other words, how he presents a shot individually and several shots in the aggregate effect the meaning of the entire production. Once a director decides on what to shoot, he then has choices in how to capture the image and how to place it in relation to other shots. The syntagmatic aspect of a film is the linear narrative structure-what comes before or after what. The second factor in interpreting images is syntagmatic, or the relationship of a single shot with other frames preceding or following it. ![]() Also, a shot of a rose pinned to the lapel of a jacket has a much different meaning than the image of a rose growing in a garden. For example, a rose shot from a low angle may seem more important than a rose shot from above. The relation of the object to the camera can denote its importance or its meaning. The first is paradigmatic, or the presentation of a single object in a single frame. Only recently have researchers devoted extensive study to the features of documentary itself and developed a language in which to discuss their findings.Īccording to cinematic theory in general, there are two specific ways in which images on the screen can be interpreted by an audience. Therefore, documentaries are most often compared to the fiction film and evaluated by how they differ in structure and content. There are no permanent codes or a prescribed formula for producers to follow. One drawback in exploring the production of documentaries is that there has never been a set structure to the documentary.
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