Cinematography-Theory-And-Practice

Figures 6.42 (top), 6.43 (middle),and 6.44 (bottom). A simple andpurely visual establishing sequenceopens The Maltese Falcon. It starts onthe Golden Gate bridge, so we knowwe’re in San Francisco; pulls back toreveal the window and sign, so weknow we’re in an office, and thendown to the shadow on the floorthat introduces the name of detectiveagency and the name of themain character. It is an elegant visualintroduction.The GeographyThis was discussed previously, but it deserves mention here as thereare several aspects to establishing the geography that relate to actualshooting on the set. Establishing the place usually just serves thepurpose of showing us where the scene will take place. This is justcalled the establishing shot. Establishing the geography is a bit differentthan just letting the viewer know where the action takes place.Where an establishing shot is generally an exterior view of the building,establishing the geography relates to the scene itself, particularly,but not exclusively, the interiors. It is not enough that the audienceknows the general location of the scene, but it is also important thatthey have a general comprehension of the layout of the place —the overall geography. This prevents confusion as characters movearound or as the camera cuts to other viewpoints within the scene.The CharactersIntroducing the characters is of course mostly a function of thescript and the actors, but a general principle is to introduce keycharacters in some way that visually underlines some aspect of theirimportance, their nature, and their story function. Also, making thisintroduction visually interesting helps the audience remember thecharacter: a form of visual punctuation.For the entire first half of High Noon, we have been waiting forthe arrival of the bad guy on the noon train. He has been discussed,feared, even run away from. When we finally meet him (Figures 6.45through 6.47), Zinnemann handles his introduction cleverly. As hefirst gets off the train, we do not see his face. Then for an entiresequence of shots, we see him being greeted, strapping on his guns,and still we do not see his face. Finally, his former lover is gettingonto the train; she is leaving town only because he has come back.She turns to look at him, and it is only then that we first see his face.It is a dramatic and distinctive way to introduce him.OTHER EDITORIAL ISSUES IN SHOOTINGIn the course of shooting the scene, it is important to not be sofocused on the essential action and storytelling that there is nothought of the small shots that will help the editor put the scenetogether in a way that is seamless, logical, and also suits the tone,pacing, and mood of the sequence. These include cutaways, inserts,and character shots that contribute to the overall ambiance.Jump CutsDisruptions of continuity can result in a jump cut. Although clearlyan error in methodology, jump cuts can be used as editorial technique.Truffaut and others of the nouvelle vague in France in theearly sixties were among the first to employ jump cuts effectively.According to Ken Dancyger, in his discussion of The 400 Blows:“How did the stylistic equivalent of the personal story translate intoediting choices? The moving camera was used to avoid editing. Inaddition, the jump cut was used to challenge continuity editing andall that it implied. The jump cut itself is nothing more than the joiningof two noncontinuous shots. Whether the two shots recognizeda change in direction, focus on an unexpected action, or simply don'tshow the action in one shot that prepares the viewer for the contentof the next shot, the result of the jump cut is to focus on discontinuity.Not only does the jump cut remind viewers that they are watchinga film, it is also jarring. The jump cut asks viewers to toleratethe admission that we are watching a film or to temporarily suspendbelief in the film." (Ken Dancyger, The Technique of Film and Videocinematography96