12 Moving Images: Making Movies, Understanding Media
Figure 1-18 In this storyboard showing an
example of a sequence in A Bug’s Life, the fi rst
shot shows Flik picking his mode of transport, the
second shot shows his point of view while fl ying,
and the third shot shows the moment when he hits
the rock and the “camera” continues to move.
CAMERA CONTINUE
CAMERA
SPLAT
Sometimes, when we think about “communication,” we only think of
words. However, as you can see from these examples, there are many ways
in which we exchange information, ideas, and messages.
The Viewer’s Perspective
In the decades aft er the invention of cinema, fi lmmakers developed techniques
for using multiple shots in sequences. As they did this, they discovered that
when putting one shot next to another, the viewer interprets them in relation
to each other. It is only natural that we refer to our own perspective when
we do this.
Imagine a Civil War battle scene. In the fi rst shot, you see soldiers
wearing Union blue moving across the frame from left to right. Th ere is a
cut to another shot: What will you see in this shot? You probably anticipate
seeing the opposing army: What do you expect to see? If
you see Confederate soldiers in gray moving across the
screen from right to left , what do you conclude? What do
you infer if you see them running from left to right?
If you see the opposing army in gray advancing from
right to left , you expect that they are moving towards their
enemies in blue, and that in an upcoming shot they will
be fi ghting. If, however, you see them running from left
to right, then you expect that they are retreating from the
other army. Or, perhaps, they are chasing the other army.
You are not sure yet. If one of the two groups looked behind
themselves as they were running, you would expect that
this group was fl eeing.
Figure 1-19 Battlefi eld scene from Glory,
directed by Edward Zwick and starring
Denzel Washington. (Courtesy TriStar Pictures /
Photofest).
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