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Documentary pioneer Dziga Vertov came remarkably close to describing the mode in his "We: Variant of a Manifesto" when he proclaimed that "kinochestvo" (the quality of being cinematic) is "the art of organizing the necessary movements of objects in space as a rhythmical artistic whole, in harmony with the properties of the material and internal ...
New techniques currently being developed in interactive movies, introduce an extra dimension into the experience of viewing movies, by allowing the viewer to change the course of the movie. In traditional linear movies, the author can carefully construct the plot, roles, and characters to achieve a specific effect on the audience.
A certain style of music video makes extensive use of found footage, mostly found on TV, like news, documentaries, old (and odd) films etc. The forefather of found footage music videos was artist Bruce Conner who screened Cosmic Ray in 1961. [3] Prominent examples are videos of bands such as Public Enemy and Coldcut. The latter also project ...
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
S. Scenario; Screen direction; Screenlife; Scriptment; Seamlessly loopable; Set piece; Set redress; Shaky camera; Shooting in the round; Shooting script; Shot/reverse ...
Musical technique may also be distinguished from music theory, in that performance is a practical matter, but study of music theory is often used to understand better and to improve techniques. Techniques such as intonation or timbre, articulation, and musical phrasing are nearly universal to all instruments.
To find out whether the Kuleshov effect can also be induced auditorily, Andreas M. Baranowski and Heiko Hecht intercut different clips of faces with neutral scenes, featuring happy music, sad music, or no music at all. They found that the music significantly influenced participants’ emotional judgments of facial expression. [9]
In music theory, contrapuntal motion is the general movement of two or more melodic lines with respect to each other. [1] In traditional four-part harmony, it is important that lines maintain their independence, an effect which can be achieved by the judicious use of the four types of contrapuntal motion: parallel motion, similar motion, contrary motion, and oblique motion.