SCREEN-L Archives

August 1996, Week 3

SCREEN-L@LISTSERV.UA.EDU

Options: Use Monospaced Font
Show Text Part by Default
Condense Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Sender:
Film and TV Studies Discussion List <[log in to unmask]>
Subject:
From:
Tony Williams <[log in to unmask]>
Date:
Thu, 15 Aug 1996 11:25:29 CST
In-Reply-To:
note of 08/15/96 09:45
Comments:
Converted from PROFS to RFC822 format by PUMP V2.2X
Reply-To:
Film and TV Studies Discussion List <[log in to unmask]>
Parts/Attachments:
text/plain (18 lines)
 Re: INCIDENT AT OWL CREEK (1961), slow-motion devices occur both on the
visual and audio levels. When Peyton emerges from the river (his loosening of
the rope appropriately filmed in slow-motion for underwater sequences, the
Jackie Chan FIRST STRIKE: POLICE STORY 5 [1996] being another example) the
viewer sees the Union Soldiers on the bride from his first-person perspective.
They are shot in slow-motion. Furthermore, their cries are also in slow-
motion. We hear the slowed-down line "Peyton Farquar. You're caught like a
rat in a trap." The slow-motion sequence lasts until the sentry fires at
Peyton. Then, normal time resumes.
  We often neglect sound as well as image in viewing film despite the
importance of this element as Silverman, Amy Lawrence, Rick Altman and others
have shown.
  Tony Williams
 
----
To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L
in the message.  Problems?  Contact [log in to unmask]

ATOM RSS1 RSS2