Preface – Video Structure Meaning

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2.4.6 Functional Analysis “System of a Fragment (Bellour) ........... 40
2.4.7 Functional Analysis of Bellours Verbal Behavior ............... 41
2.4.8 Structural Analysis of the Bodega Bay Sequence ............... 43
2.4.9 Method of Pixel-Level Analysis ............................ 44
2.4.10 Results ................................................ 45
2.4.11 Discussion of Structure Analysis of Bodega Bay Sequence ........ 48
2.5 Story Five: What Makes a Movie and Why Does it Matter? ............ 50
3 Coda: Provocations on Filmic Retrieval, Hunting, Meandering, and Browsing . 59
3.1 How Are We to Find and Make Sense of Filmic Documents? ........... 59
3.1.1 Retrieval May Not Be a Sucient Term ..................... 59
3.1.2 Predicament of Categories ................................. 60
3.2 What en of Moving Image Documents? .......................... 61
3.3 Way Points for Hunting, Browsing, and Meandering .................. 61
3.4 Provocations .................................................. 63
3.5 Author—Message—Recipient Relation ............................. 67
3.6 Additional oughts ............................................ 68
3.6.1 Functional Ontology ..................................... 68
3.6.2 Arrowsmith on Film and Literature ......................... 68
3.6.3 Bertrand Augst .......................................... 69
3.6.4 Shannon Binary System .................................. 69
3.6.5 Utility of the Functional Ontology Model .................... 70
3.6.6 Points of Discontinuity ................................... 71
3.6.7 Movie Stimuli and Eect ................................. 71
3.6.8 Movie Stimuli and Eect 2 ............................... 72
3.6.9 Evolution of Cinema ..................................... 72
3.6.10 e End ............................................... 73
Bibliography ....................................................... 75
Authors’ Biographies ................................................ 79
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e dominant, all-powerful factor of the lm image is rhythm, expressing the course
of time within the frame.
Andrey Tarkovsky, Sculpting in Time
Shot and montage are the basic elements of cinema. Montage has been established by
the Soviet lm as the nerve of cinema. To determine the nature of montage is to solve
the specic problem of cinema.
Sergei Eisenstein, A Dialectic Approach to Film Form, in Film Form