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Cultural & Academic Films

This library of academic and cultural films features collections from the Academic Film Archive and the Media Burn Independent Film Archive, as well as a selection of documentaries created by Dorothy Fadiman. In addition, films from the University of Pennsylvania Museum of Archeology and Anthropology are presented including those by Watson Kintner who used film to document his world travels, and the popular television show from the 1950s: “What in the World?”

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This 9 second excerpt from the film The Usual Suspects (B. Singer, 1995, copyright © 1995 Rosco Film GmbH & Bad Hat Harry Productions, Inc.) showcases the use of image focus to point or conceal. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Kint evokes Keyser's revenge in voice over. The flames in the background are but an...
Topics: focus, depth of field
movies are made
movies
eye 42
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This 39 second excerpt from the film Birdy (A. Parker, 1984, copyright © 1984 Tri-Star Pictures) introduces the way editing changes our relationship to time. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Time can be stretched out through cuts, either transparently or blatantly. In the following excerpt, a montage sequence is used to emphasize Birdy's fall, from...
Topic: editing
movies are made
movies
eye 55
favorite 1
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This 8 second excerpt from the film The Thing (J. Carpenter, 1982, copyright © 1982 Universal City Studios, Inc.) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Watching a character moving to a small-scale background prop draws our attention to that prop while keeping it mysterious — perhaps even scary — as in...
Topics: scale-down, move to background
movies are made
movies
eye 67
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This 12 second excerpt from the film Alien (R. Scott, 1979, copyright © 1979 Twentieth Century-Fox Film Corporation) showcases the use of dynamic flares. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, two characters are proceeding with maintenance and repair of a space ship. Flickering lens flares depict the atmosphere of an engine room...
Topic: flare
movies are made
movies
eye 57
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This 10 second excerpt from the film Born on the Fourth of July (O. Stone, 1989, copyright © 1989 Universal City Studios, Inc.) demonstrates the effect of nested cut-ins. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, several zoom-ins on Ron Kovic through the blades of a ceiling fan are used in a scene where the character is having a...
Topics: cut in, editing pattern
movies are made
movies
eye 139
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This 3 second excerpt from the film Tropic Thunder (B. Stiller, 2008, copyright © International Film Production Stella-del-Sud Second GmbH & Co. KG) shows the effect of cutting on the look to an objective shot. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. An important variant of the objective ‘look-what‘ editing pattern is when the...
Topics: editing, editing pattern, cut on the look
movies are made
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eye 163
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This 20 second excerpt from the film E.T. the Extra-Terrestrial (S. Spielberg, 1982, copyright © 1982 Universal City Studios, Inc.) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Truck-outs can be used to scale down one character and reveal another one who we know is on the stage. Those characters don’t come out...
Topics: scale-down, truck out
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movies
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This 7 second excerpt from the film The Graduate (M. Nichols, 1967, copyright © 1967 Embassy Pictures Corporation & Lawrence Turman, Inc.) shows how to use repetition as a storytelling technique. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Exaggerating the overlapping of a move at the cut to force time dilation can be made conspicuous by partially repeating...
Topics: repetition, time dilation
movies are made
movies
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This 18 second excerpt from the TV series episode The Avengers: Bizarre (L. Norman, 1969, copyright © 1968-1969 Canal+ Image UK Ltd) shows how to use repetition as a storytelling technique. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Even single words could be repeated to emphasize the ‘comic-tragic’ overtones of a situation, as in the following excerpt....
Topics: repetition, sound
movies are made
movies
eye 62
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This 8 second excerpt from the film E.T. the Extra-Terrestrial (S. Spielberg, Copyright 1982 Universal City Studios, Inc.) showcases the use of low image contrast to raise tension in a shot. In order to comply with the Fair Use doctrine in teaching and research, sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Mary is about to leave the house to accompany Girtie to school. As usual, she is in...
Topics: image contrast, camera move, tension
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movies
eye 115
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This 9 second excerpt from the film Godzilla (R. Emmerich, 1998, copyright © 1998 TriStar Pictures, Inc.) shows the effect of cutting on the look then back to the looking character. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Opening the space around the looking character with a longer shot scale is a great way to let him take action. Besides, switching from a...
Topics: editing, editing pattern, cut on the look
movies are made
movies
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This 13 second excerpt from the film Resident Evil: Extinction (R. Mulcahy, 2007, copyright © 2007 Constantin Film International GmbH) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Cut-outs allow us to discover the environment without losing sight of the characters. This is especially interesting when characters...
Topics: scale-down, cut out
movies are made
movies
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This 10 second excerpt from the film Young Sherlock Holmes (B. Levinson, 1985, copyright © 1985 Paramount Pictures Corporation and Amblin Entertainment, Inc.) shows the effect of cutting in on a subject. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Letting characters fill the screen doesn't automatically mean they appear as evil-minded. The following excerpt...
Topics: scale-up, cut in
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This 9 second excerpt from the film Wanted (T. Bekmambetov , 2008, copyright © 2008 Universal Studios and Ringerike Gmbh & Co. Luftfahrtbeteiligungs KG) demonstrates the effect of nested cut-outs. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, the inverse Russian doll effect is used to startle the audience the same way Wesley gets...
Topics: cut out, editing pattern
movies are made
movies
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This 13 second excerpt from the film The Wild Wild West: The Night of the Avaricious Actuary (I. J. Moore, 1968, copyright © 1968 Columbia Broadcasting System, Inc.) showcases the use of image focus for characters gaining consciousness. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Jim wakes up and finds himself tied...
Topics: focus, depth of field
movies are made
movies
eye 66
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This 18 second excerpt from the film Sherlock – A Study in Pink (P. McGuigan, 2010, copyright © 2010 Hartswood Films Ltd) showcases the use of image focus to point or conceal. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, a shot showing out-of-focus lights of London traffic at night opens and closes a very short...
Topics: focus, depth of field
movies are made
movies
eye 107
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This 13 second excerpt from the film Run Lola Run (T. Tykwer, 1998, copyright © 1998 X Filme Creative Pool Gmbh) shows how to use repetition as a storytelling technique. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Like portrait galleries, evocations can be stylized in many different ways. In the following excerpt, the future of a surly woman is shown in an...
Topics: repetition, evocation, illustration
movies are made
movies
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This 8 second excerpt from the film Pirates of the Caribbean – On Stranger Tides (R. Marshall, 2011, copyright © 2011 Disney Enterprises, Inc.) demonstrates a parallel-axis cut. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. It is important to note that whenever we are presented with successive shots of different parts of a subject — all sharing approximately...
Topic: editing
movies are made
movies
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This 39 second excerpt from the film Birdy (A. Parker, 1984, copyright © 1984 Tri-Star Pictures) shows how to use repetition as a storytelling technique. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Sounds of ‘real’ heartbeats are commonly added to the soundtrack to bring out the anxiety of a character, even though they are not part of the action. The...
Topics: repetition, sound
movies are made
movies
eye 122
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This 19 second excerpt from the film Cliffhanger (R. Harlin, 1993, copyright © 1993 Cliffhanger B.V.) shows the effect of cutting on the look. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. One of the simplest ways to improve the stressing effect of the ‘look-what‘ editing pattern is not to fully disclose the ‘what‘ too soon. Withholding information is...
Topics: editing, editing pattern, cut on the look
movies are made
movies
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This 8 second excerpt from the film Basic Instinct (P. Verhoeven, 1992, copyright © 1992 Carolco/Le Studio Canal+ V.O.F.) shows the effect of cutting on the look then back to the looking character. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Cutting to a longer shot of the looking character is also a great way to take her aback after a bewildering ‘what‘...
Topics: editing, editing pattern, cut on the look
movies are made
movies
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This 13 second excerpt from the film The Hitcher (R. Harmon, 1986, copyright © 1986 Silver Screen Partners, L.P.) shows the effect of cutting in on a subject. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. Cut-ins can reflect characters' determination or direct implication in the story, in which case their sudden magnification seems to emanate...
Topics: scale-up, cut in
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movies
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This 16 second excerpt from the film The Adventures of Baron Munchausen (T. Gilliam, 1988, copyright © 1988 Columbia Pictures Industries, Inc.) shows how to use repetition as a storytelling technique. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Evocations of a single subject are frequently edited as a catalog of striking pictures depicting its various aspects....
Topics: repetition, evocation, illustration
movies are made
movies
eye 87
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This 40 second excerpt from the film Barry Lyndon (S. Kubrick, 1975, copyright © 1975 Warner Bros Inc.) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. The environment can add a symbolic touch to characters’ apparent isolation due to zooming out. In the following excerpt, Barry is feeling down after shamefully...
Topics: scale-down, zoom out
movies are made
movies
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This 8 second excerpt from the film Battle Royale (K. Fukasaku, 2000, copyright © 2000 Battle Royale Production Committee) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. Zoom-outs are frequently used to expose or reveal characters’ environment as a context. For instance, in the following...
Topics: scale-down, zoom out
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eye 104
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This 13 second excerpt from the film Mad Max 2 – The Road Warrior (G. Miller, 1981, copyright © 1981 Kennedy Miller Entertainment Pty. Ltd and others) shows the effect of cutting on the look then back to the looking character. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. A shot of a character looking off-screen (i.e. a ‘look‘ shot) cuts to a shot of what...
Topics: editing, editing pattern, cut on the look
movies are made
movies
eye 58
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This 11 second excerpt from the film Birdy (A. Parker, 1984, copyright © 1984 Tri-Star Pictures) introduces the way editing changes our relationship to space. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Thanks to editing, not only can the camera instantly jump from place to place, but also from POV to POV. In the following excerpt, the rhythm of cuts speeds up...
Topic: editing
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movies
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This 5 second excerpt from the film Max Payne (J. Moore, 2008, copyright © 2008 Twentieth Century Fox Film Corporation and Dune Entertainment III LLC in all territories except Brazil, Italy, Japan, Korea and Spain; TCF Hungary Film Rights Exploitation Limited Liability Company, Twentieth Century Fox Film Corporation and Dune Entertainment III LLC in Brazil, Italy, Japan, Korea and Spain) demonstrates a parallel-axis cut. In order to comply with the Fair Use doctrine in teaching and research ,...
Topic: editing
movies are made
movies
eye 67
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This 16 second excerpt from the TV series episode The Avengers: The Rotters (R. Fuest, 1968, copyright © 1968-1969 Canal+ Image UK Ltd) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Zoom-outs can be used to create space around characters. Unbalancing the frame is a great way to make the audience uncomfortable and...
Topics: scale-down, zoom out
movies are made
movies
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This 6 second excerpt from the TV series episode The Avengers: Thingumajig (L. Norman, 1969, copyright © 1968-1969 Canal+ Image UK Ltd) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Widening the frame can surprise the audience by allowing a subject initially concealed to be revealed, changing our perspective on...
Topics: scale-down, zoom out
movies are made
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This 10 second excerpt from the film Contact (R. Zemeckis, 1997, copyright © 1997 Warner Bros) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Cutting out is a way to ease the high tension provided by Close Shots. In the following excerpt, tension has insidiously built up between Ellie and Palmer, so a cut-out is...
Topics: scale-down, cut out
movies are made
movies
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This 87 second excerpt from the film Poltergeist (T. Hooper & S. Spielberg, 1982, copyright © 1982 Metro-Goldwyn-Mayer Film Company and SLM Entertainment Ltd) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In fact, trucking out is a very common way to close a scene — even a movie — by breaking the link...
Topics: scale-down, truck out
movies are made
movies
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This 12 second excerpt from the film My Name is Nobody (T. Valerii, 1973, copyright © 1973 RAFRAN) shows the effect of zooming in on a subject. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. Very often, zoom-ins are merely used to point to some important subject that would go unnoticed in a wider shot. In the following excerpt, a boy hides in...
Topics: scale-up, zoom in
movies are made
movies
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This 12 second excerpt from the TV series episode The Avengers: The Morning After (J. Hough, 1969, copyright © 1968-1969 Canal+ Image UK Ltd) shows how to use repetition as a storytelling technique. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Oftentimes, not only do typical series of ’empty’ shots convey the concept of sound propagation, but they also imply...
Topics: repetition, sound
movies are made
movies
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This 21 second excerpt from the film The Lost World – Jurassic Park (S. Spielberg, 1997, copyright © 1997 Universal City Studios, Inc. and Amblin Entertainment, Inc.) shows how to use repetition as a storytelling technique. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. When two characters — or groups of characters — are competing with or against each other,...
Topics: repetition, comparison
movies are made
movies
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This 13 second excerpt from the film Kill Bill Vol. 1 (Q. Tarantino, 2003, copyright © 2003 Supercool Manchu, Inc.) demonstrates the effect of alternating cut-ins and cut-outs. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. Alternating cut-ins and cut-outs comes in handy when dealing with highly designed sequences that obfuscate the action. In...
Topics: scale-up, scale-down, cut in, cut out
movies are made
movies
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This 2 minute 48 second excerpt from the film Four Minutes (C. Kraus, 2006, copyright © 2006 Kordes & Kordes Film GmbH / SWR / BR / Arte) demonstrates the effect of alternating cut-ins and cut-outs. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. Basing a scene on cut-ins and cut-outs is not the only way to vary shot scale while maintaining...
Topics: scale-up, scale-down, cut in, cut out
movies are made
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This 46 second excerpt from the film Kill Bill Vol. 1 (Q. Tarantino, 2003, copyright © 2003 Supercool Manchu, Inc.) demonstrates the effect of alternating cut-ins and cut-outs. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. One of the most simple — but effective — editing of a scene is an alternation of only two shots: one master shot and a closer shot...
Topics: scale-up, scale-down, cut in, cut out
movies are made
movies
eye 59
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This 24 second excerpt from the film Max Payne (J. Moore, 2008, copyright © 2008 Twentieth Century Fox Film Corporation and Dune Entertainment III LLC in all territories except Brazil, Italy, Japan, Korea and Spain; TCF Hungary Film Rights Exploitation Limited Liability Company, Twentieth Century Fox Film Corporation and Dune Entertainment III LLC in Brazil, Italy, Japan, Korea and Spain) demonstrates the effect of alternating cut-ins and cut-outs. In order to comply with the Fair Use doctrine...
Topics: scale-up, scale-down, cut in, cut out
movies are made
movies
eye 116
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This 109 second excerpt from the film The Shining (S. Kubrick, 1980, copyright © 1980 Hawk Films/Warner Bros Inc.) demonstrates the effect of alternating zoom-ins and zoom-outs as a storytelling techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Zooming in and out can even design whole scenes, as in the following excerpt, when Hallorann has a fit of...
Topics: scale-up, scale-down, zoom in, zoom out
movies are made
movies
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This 10 second excerpt from the film JFK (O. Stone, 1991, copyright © 1991 Warner Bros Inc., Regency Enterprises V.O.F. & Le Studio Canal+) demonstrates the effect of alternating zoom-ins and zoom-outs as a storytelling techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Combinations of whip zoom-ins and whip zoom-outs can give a newsreel or...
Topics: scale-up, scale-down, zoom in, zoom out
movies are made
movies
eye 96
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This 42 second excerpt from the film Contact (R. Zemeckis, 1997, copyright © 1997 Warner Bros) is an example of a montage sequence. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Alternating context shots with shots of observing characters lets the audience experience the walkthrough along with the characters. Sort of kaleidoscope, or ‘outing to the zoo’...
Topics: Editing, Montage
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movies
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This 37 second excerpt from the film Bad Lieutenant (A. Ferrara, 1992, copyright © 1992 Lt. Productions, Inc.) demonstrates the effect of jump cuts. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Jump cuts are also commonly used to shrink down long-lasting actions to make their evolutions more apparent. This approach is used in the following excerpt to describe the...
Topics: editing, jump cut
movies are made
movies
eye 83
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This 31 second excerpt from the film Marnie (A. Hitchcock, 1964, copyright © 1964 Geoffrey Stanley Inc.) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Letting characters move from the foreground to the background is a common way to reveal both their appearance and their environment. Marnie starts with a tracking...
Topics: scale-down, move to background
movies are made
movies
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This 69 second excerpt from the film The Name of the Rose (J.-J. Annaud, 1986, copyright © 1986 Neue Constantin Film Produktion GmbH) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Zooming out can help the audience disconnect from characters leaving the scene by letting them go away even more quickly. Such...
Topics: scale-down, zoom out
movies are made
movies
eye 68
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This 20 second excerpt from the film Jackie Brown (Q. Tarantino, 1997, copyright © 1997 Mighty Mighty Afrodite Productions, Inc.) introduces the way editing changes our relationship to time. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Thanks to editing, movies are not bound to present scenes in chronological order. In the following excerpt, a flashback of...
Topic: editing
movies are made
movies
eye 68
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This 16 second excerpt from the film Invasion of the Body Snatchers (P. Kaufman, 1978, copyright MCMLXXVIII United Artists Corp.) showcases image deformation. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, two characters are reflected by a concave metallic surface as one is on the phone and the other tries to catch his attention. The...
Topic: image deformation
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movies
eye 100
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This 16 second excerpt from the film Raiders of the Lost Ark (S. Spielberg, 1981, copyright © 1981 Lucasfilm Ltd (LFL)) demonstrates the effect of alternating cut-ins and cut-outs. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. One of the most simple — but effective — editing of a scene is an alternation of only two shots: one master shot and a closer shot...
Topics: scale-up, scale-down, cut in, cut out
movies are made
movies
eye 83
favorite 0
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This 5 second excerpt from the film Kill Bill Vol. 1 (Q. Tarantino, 2003, copyright © 2003 Supercool Manchu, Inc.) shows the effect of zooming in on a subject. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Whip zoom-ins were very popular in the 70's -- especially in martial art movies and Italian westerns -- for their ability to thrill their audience. In the...
Topics: scale-up, zoom in
movies are made
movies
eye 112
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This 8 second excerpt from the film Run Lola Run (T. Tykwer, 1998, copyright © 1998 X Filme Creative Pool Gmbh) shows multiple angles of the same subject edited together. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Introspection -- and all its derivatives -- can equally take advantage of editing together multiple angles of the same subject. It is also worth...
Topics: editing, repetition
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movies
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This 13 second excerpt from the film The Departed (M. Scorsese, 2006, copyright © 2006 Warner Bros. Entertainment Inc.) shows multiple angles of the same subject edited together. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Editing together multiple angles af the same subject can be applied to characters to make them appear much more important than they really...
Topics: editing, repetition
movies are made
movies
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This 2 second excerpt from the film The Abyss (J. Cameron, 1989, copyright © 1989 Twentieth Century Fox Film Corporation) showcases characters scaling up by moving to the foreground. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. Having a subject suddenly invade the audience's comfort zone while looking straight at the camera is an efficient...
Topics: scale-up, move to foreground
movies are made
movies
eye 29
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This 6 second excerpt from TV series episode The Wild Wild West: The Night of the Avaricious Actuary (I. J. Moore, 1968, copyright © 1968 Columbia Broadcasting System, Inc.) shows the effect of zooming in on a subject. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. The sudden awareness conveyed by zoom-ins is so important to storytelling that...
Topics: scale-up, zoom in
movies are made
movies
eye 32
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This 21 second excerpt from the film Birdy (A. Parker, 1984, copyright © 1984 Tri-Star Pictures) shows the effect of zooming in on a subject. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Because Close Shots (CS) are mental shot scales, tight zoom-ins give us the feeling that we are able to enter characters' minds. In the following excerpt, this is all the more...
Topics: scale-up, zoom in
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movies
eye 49
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This 9 second excerpt from the film Max Payne (J. Moore, 2008, copyright © 2008 Twentieth Century Fox Film Corporation and Dune Entertainment III LLC in all territories except Brazil, Italy, Japan, Korea and Spain; TCF Hungary Film Rights Exploitation Limited Liability Company, Twentieth Century Fox Film Corporation and Dune Entertainment III LLC in Brazil, Italy, Japan, Korea and Spain) showcases the use of image focus for isolating subjects. In order to comply with the Fair Use doctrine in...
Topics: focus, depth of field
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movies
eye 32
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This 2 second excerpt from the film Cocoon (R. Howard, 1985, copyright © 1985 Twentieth Century Fox Film Corporation) showcases the use of dynamic occlusion. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, the passengers of a boat are filmed through the propeller of the helicopter that chases them. The visual staccato of the propeller...
Topics: overlay, occlusion
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movies
eye 62
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This 16 second excerpt from the film Cast Away (R. Zemeckis, 2000, copyright © 2000 Twentieth Century Fox Film Corporation and DreamWorks LLC) introduces the way editing changes our relationship to time. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Chuck finally succeeds in building a fire by rubbing a stick against a piece of wood. We...
Topic: editing
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eye 49
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This 19 second excerpt from the film Lenny (B. Fosse, 1974, copyright © 1974 Metro-Goldwyn-Mayer Studios, Inc.) shows an alternative to the regular and reverse 'cut on the look'. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Using shallow depth of field is a very efficient way to separate the looking character from what he is looking at (i.e. the ‘what‘) in...
Topics: editing, cut on the look, reverse cut on the look
movies are made
movies
eye 87
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This 11 second excerpt from the film Reservoir Dogs (Q. Tarantino, Copyright 1991 Dog Eat Dog Productions, Inc.) showcases the use of image contrast to raise tension in a shot. In order to comply with the Fair Use doctrine in teaching and research, sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, the camera circles around and towards Mr. Orange to let a strong red light enter the frame and...
Topics: image contrast, camera move, tension
movies are made
movies
eye 105
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This 52 second excerpt from the film Willow (R. Howard, 1988, copyright © 1988 Lucasfilm Ltd (LFL)) demonstrates the effect of alternating scaling-up techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Alternate truck-ins and alternate zoom-ins are very much alike as they both scale up characters at a standstill, but truck-ins are generally more dynamic as...
Topics: scale-up, truck in, editing pattern
movies are made
movies
eye 61
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This 10 second excerpt from the film The Avengers: Homicide and Old Lace (J. Hough, 1969, copyright © 1968-1969 Canal+ Image UK Ltd.) introduces the way editing changes our relationship to time. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Some stories include fictitious action, which calls out for daring editing techniques. In the following excerpt,...
Topic: editing
movies are made
movies
eye 30
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This 7 second excerpt from the film My Name is Nobody (T. Valerii, 1973, copyright © 1973 RAFRAN) showcases the use of image focus to emphasize speech. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Jack Beauregard comes in foreground to look out of the window, stealing focus from the speaker in background, only to emphasize his speech....
Topics: focus, depth of field
movies are made
movies
eye 38
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This 3 second excerpt from the film Battle Royale (K. Fukasaku, 2000, copyright © 2000 Battle Royale Production Committee) showcases the use of image focus to point or conceal. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Mitsuko -- who was about to kill Noriko -- escapes an unexpected danger off screen while Noriko...
Topics: focus, depth of field
movies are made
movies
eye 28
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This 21 second excerpt from the film La Femme Nikita (L. Besson, 1990, copyright © 1990 Gaumont) showcases the use of image focus for characters losing and gaining consciousness. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Nikata wakes up in an unfamiliar room after being heavily sedated. In this case, the...
Topics: focus, depth of field
movies are made
movies
eye 21
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This 8 second excerpt from the film The Shining (S. Kubrick, 1980, copyright © 1980 Warner Bros. Inc.) showcases the use of dynamic occlusion. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Wendy and Danny run to the massive hedge maze of the hotel for a bit of fun. The tracking camera lets a map -- showing the...
Topics: overlay, occlusion
movies are made
movies
eye 19
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This 4 second excerpt from the film Little Big Man (A. Penn, 1970, copyright © 1970 Hiller Productions) showcases the use of dynamic occlusion. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, Jack listens to the last words of his friend Hickok who's just been shot in a bar. A shroud then covers the camera and abruptly...
Topics: overlay, occlusion
movies are made
movies
eye 33
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This 3 second excerpt from the film The War of the Worlds (S. Spielberg, 2005, copyright © 2005 Paramount Pictures Corporation and DreamWorks LLC) showcases the use of dynamic occlusion. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, a man holding a camcorder unexpectedly enters the frame in the foreground and 'rudely'...
Topics: overlay, occlusion
movies are made
movies
eye 44
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This 7 second excerpt from the film Terminator 2 – Judgment Day (J. Cameron, 1991, copyright © 1991 Carolco Pictures Inc. (United States & Canada; Carolco International N.V. (all other countries)) showcases the use of dynamic occlusion. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, a woman tries to escape a...
Topics: overlay, occlusion
movies are made
movies
eye 154
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This 15 second excerpt from the film Se7en (D. Fincher, 1995, copyright © 1995 New Line Productions, Inc.) demonstrates the effect of using extremely short shots. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. In the following excerpt, a 2-frame subliminal shot is inserted as the character reminisces over his murdered wife. Read more at...
Topic: subliminal
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movies
eye 44
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This 22 second excerpt from the film A Clockwork Orange (S. Kubrick, 1971, copyright © 1971 Warner Bros Inc. and Polaris Productions Inc.) shows how to use repetition as a storytelling technique. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. The repetitive aspect of a portrait gallery is a great asset for mocking characters, as in the following excerpt, where the...
Topics: repetition, portrait gallery
movies are made
movies
eye 88
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This 19 second excerpt from the film Poltergeist (T. Hooper & S. Spielberg, 1982, copyright © 1982 Metro-Goldwyn-Mayer Film Company and SLM Entertainment Ltd.) demonstrates the effect of scaling-down techniques. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Characters backing away from the camera convey their distress and confusion even though no tangible...
Topics: scale-down, move to background
movies are made
movies
eye 35
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This 67 second excerpt from the film Merry Christmas Mr. Lawrence (N. Oshima, 1983, copyright © 1982 National Film Trustee Company) shows the effect of trucking in on a subject. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Trucking in on characters changes their scale on screen. Transitioning from physical to mental shot scale puts them in a better position to...
Topics: scale-up, truck in
movies are made
movies
eye 37
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This 12 second excerpt from the film Scanners (D. Cronenberg, 1981, copyright © 1980 Unit-holders on Records in the Unit-holder Register Kept by Montreal Trust Company) shows the effect of trucking in on a subject. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. Moving towards characters -- as opposed to zooming in -- allows for intricate...
Topics: scale-up, truck in
movies are made
movies
eye 69
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This 10 second excerpt from the film For a Few Dollars More (S. Leone, 1965, copyright © 1965 Sergio Leone and Fulvio Morsella) shows the effect of cutting in on a subject. In order to comply with the Fair Use doctrine in teaching and research , resolution is limited to 360p and the clip has been shortened to only encompass the subject of interest. Cut-ins can reflect characters' determination or direct implication in the story, in which case their sudden magnification seems to emanate from...
Topics: scale-up, cut in
movies are made
movies
eye 67
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This 6 second excerpt from the film Cliffhanger (R. Harlin, 1993, copyright © 1993 Cliffhanger B.V.) showcases the dolly-zoom effect. In order to comply with the Fair Use doctrine in teaching and research , sound has been cut out, resolution limited to 360p and the clip has been shortened to only encompass the subject of interest. There are many variations to the dolly-zoom effect. For instance, the camera can tilt up as it trucks in to end up with a character in low angle, as in the following...
Topics: scale-up, scale-down, zoom in, zoom out, truck in, truck out, dolly-zoom effect