In A Bout de Souffle (Godard, 1960), jump cuts are used when a flowing conversation shot is suddenly, by a change of shot, felt unsynchronized because of the deleting of what should be in between a shot and the other. This is a temporal jump cut, as the space itself doesn't change (no angle or camera position change) but the continuous normal movement is broken suddenly and unexpectedly by a shot change showing a different motion taking place (e.g.: from this movie, when the girl is talking in the car, suddenly changing to her looking herself at her hand mirror).
In Eden Lake's beggining, jump cuts are used during the couple's journey in the highway. The long forward moving tracking shots showing the car from behind are suddenly cut and lead to another shot in a slightly different angle, showing a different situation. This sudden, unsynchornized change and modification in the flowing sequence conveys the passage of time, as the audience fills the imaginary gap between each simultaneous shot which time. It also generates disorientation and amplifies the magnitude of this trip as a more symbolic journey, from their conformist life style to a more harsh and real environment.
SCREAM
(a screenplay by Santos Espina)
FADE IN:
1. Black screen. SUPERIMPOSE:
SCREAM
(title morphs in coloring and shape till fade out)
As title appears, a shot, a telephone line, a woman screaming and a metallic axe-like sound appear.
DISSOLVE TO:
2. INT. –NIGHT- Woman’s house.
The camera shows a small table with a telephone ringing (close up). Woman’s hand appears and grabs the phone. CAMERA MOVES UP to show her face holding the phone. She’s a young pretty blonde woman.
WOMAN
Hello?
PHONE VOICE (voice-over)
Hello
WOMAN
Yes?
PHONE VOICE (V.O.)
Who is this?
WOMAN
Uh, who are you trying to reach?
PHONE VOICE (V.O.)
What number is this?
WOMAN
What number are you trying to reach?
Girl GIGGLES, seems sympathetic with situation.
PHONE VOICE (V.O.)
I don’t know…
WOMAN
Well I think you have the wrong number…
PHONE VOICE (V.O.)
Do I…?
WOMAN
It happens, take it easy.
She hangs down the phone as the CAMERA FOLLOWS HER FACE (tilts downwards and then upwards). She turns round and starts walking away. PHONE RINGS AGAIN. She turns round and camera ZOOMS IN slowly. Girl walks to telephone.
3. Same setting as before. Camera fixed in a CLOSE UP on the telephone, which still RINGS. Girl grabs it and the CAMERA FOLLOWS THE TELEPHONE to her face, tilting upwards.
WOMAN
Hello...?
PHONE VOICE (V.O.)
Sorry, I guess I dialed the wrong number…
WOMAN
Uh, so what did you dial it again?
PHONE VOICE (V.O.)
To apologize…
WOMAN
You’re forgiven, bye now…
CAMERA ROTATES smoothly around the girl, she walks so as to hang up the phone.
PHONE VOICE (V.O.)
Wait, wait! Don’t hang up…
WOMAN
What?
PHONE VOICE (V.O.)
I want to talk to you for a second…
WOMAN
They have nine hundred numbers to do that. See you…
CAMERA STAYS FIXED POSITION as the inclines to hang up the phone. Her face appears again and she walks outside camera focus, sighing. CAMERA STAYS STILL for some seconds showing the window.
4. EXT. EST SHOT garden outside the house. LOW-ANGLE SHOT for above trees, then moves downward to focus house. Cricket noises, and a rumbling sound of movement.
5. INT. CLOSE UP on the stove which turns on. Girl’s hand appears placing a popcorn pan.
6. INT. MID SHOT zooming out on girl who prepares popcorn, then PHONE RINGS, she sighs, and picks it up, as the CAMERA FOLLOWS HER moving swiftly through the kitchen.
WOMAN
Hello…???
PHONE VOICE (V.O.)
Why don’t you want to talk to me?
WOMAN
Who is this?
PHONE VOICE (V.O.)
Tell me your name I’ll tell you mine…
WOMAN
I don’t think so…
She shakes the popcorn pan.
PHONE VOICE (V.O.)
What is that noise?
WOMAN
Popcorn!
PHONE VOICE (V.O.)
You’re making popcorn?
WOMAN
Uh-huh…
Suscribirse a:
Entradas (Atom)