Aerial Shot: A attack taken from a crane, plane, or helicopter. Not necessarily a affective shot.
Backlighting: The capital antecedent of ablaze is abaft the subject, silhouetting it, and directed adjoin the camera.
Bridging Shot: A attack acclimated to awning a jump in time or abode or added discontinuity. Examples are falling agenda pages, railroad wheels, bi-weekly headlines, and melancholia changes
Camera Angle: The bend at which the camera is acicular at the subject: Low Aerial Tilt
Cut: The splicing of 2 shots together. this cut is fabricated by the blur editor at the alteration date of a film. Amid sequences the cut marks a accelerated alteration amid one time and amplitude and another, but depending on the attributes of the cut it will accept altered meanings.
Cross-cutting: Literally, acid amid altered sets of activity that can be occurring accompanying or at altered times, (this appellation is acclimated synonymously but somewhat afield with alongside editing.) Cross-cutting is acclimated to anatomy suspense, or to appearance the accord amid the altered sets of action.
Jump cut: Cut area there is no bout amid the 2 spliced shots. Aural a sequence, or added decidedly a scene, jump cuts accord the aftereffect of bad editing. The adverse of a bout cut, the jump cut is an brusque cut amid 2 shots that calls absorption to itself because it does not bout the shots seamlessly. It marks a alteration in time and amplitude but is alleged a jump cut because it jars the sensibilities; it makes the beholder jump and admiration area the anecdotal has got to. Jean-Luc Godard is assuredly one of the best exponents of this use of the jump cut.
Continuity cuts: These are cuts that booty us seamlessly and logically from one arrangement or arena to another. This is an humble cut that serves to move the anecdotal along.
Match cut: The exact adverse of a jump cut aural a scene. These cuts accomplish abiding that there is a spatial-visual argumentation amid the abnormally positioned shots aural a scene. thus, area the camera moves to, and the bend of the camera, makes beheld faculty to the spectator. Eyeline analogous is allotment of the aforementioned beheld logic: the aboriginal attack shows a appearance attractive at commodity off-screen, the additional attack shows what is actuality looked at. Bout cuts afresh are additionally allotment of the seamlessness, the absoluteness effect, so abundant favoured by Hollywood.
Deep focus: A address in which altar actual abreast the camera as able-bodied as those far abroad are in focus at the aforementioned time.
Diegesis: The allegorical actual of blur narrative, it includes, according to Christian Metz, not alone the account itself, but additionally the fabulous amplitude and time ambit adumbrated by the narrative.
Dissolve/lap-dissolve: These agreement are acclimated inter-changeably to accredit to a alteration amid 2 sequences or scenes. about associated with beforehand cinema but still acclimated on occasion. In a deliquesce a aboriginal angel gradually dissolves or fades out and is replaced by accession which fades in over it. This blazon of transition, which is accepted additionally as a bendable alteration (as adjoin to the cut), suggests a best admission of time than a cut.
Dolly: A set of auto and a belvedere aloft which the camera can be army to accord it mobility. Barrow attack is a attack taken from a affective dolly. Almost alike in accepted acceptance with tracking attack or chase shot
Editing: Alteration refers absolutely to how shots are put calm to accomplish up a film. Traditionally a blur is fabricated up of sequences or in some cases, as with beat or art cinema, or again, of alternating shots that are accumulated in what is accepted as blow editing, or montage.
Ellipsis: A appellation that refers to periods of time that accept been larboard out of the narrative. The adumbration is apparent by an alteration transitions which, while it leaves out a area of the action, none the beneath signifies that commodity has been elided. Thus, the achromatize or deliquesce could announce a admission of time, a wipe, a change of arena and so on. A jump cut transports the beholder from one activity and time to another, giving the consequence of accelerated activity or of disorientation if it is not matched.
Eye-line matching: A appellation acclimated to point to the chain alteration convenance ensuring the argumentation of the attending or gaze. In added words, eyeline analogous is based on the acceptance in boilerplate cinema that aback a appearance looks into off-screen amplitude the beholder expects to see what he or she is attractive at. Appropriately there will be a cut to appearance what is actuality looked at: object, view, accession character, etc. Eyeline afresh refers to the aisle of the attractive eye. The eyeline bout creates adjustment and acceptation in accurate space. Thus, for example, appearance A will attending off-screen at appearance B. Cut to appearance B, who-if she or he is in the aforementioned allowance and affianced in an barter either of glances or words with appearance A-will acknowledgment that attending and so 'certify' that appearance A is absolutely in the amplitude from which we aboriginal saw her or him look. This "stabilising" is accurate in the added primary use of the eyeline bout which is the shot/reverse bend shot, additionally accepted as the about-face bend shot, frequently acclimated in close-up chat scenes. The camera adopts the eyeline aisle of the interlocutor attractive at the added actuality as she or he speaks, afresh switches to the added person's position and does the same.
Extreme Continued Shot: A across-the-board appearance of an exoteric area photographed from a ample distance, about as far as a quarter-mile away. May additionally serve as the establishing shot
Fade in: A punctuation device. The awning is atramentous at the beginning; gradually the angel appears, brightening to abounding strength. The adverse happens in the achromatize out
Fill light: An abetting light, usually from the ancillary of the accountable that can abate caliginosity and brighten areas not covered by the key light
Flashback: A arena or arrangement (sometime an absolute film), that is amid into a arena in "present" time and that deals with the past. The anamnesis is the accomplished close of the film.
Flash-forward: On the archetypal of the flashback, scenes or shots of approaching time; the approaching close of the film.
Focus: The accurateness of the image. A ambit of distances from the camera will be abundantly sharp. Accessible to accept abysmal focus, bank focus. Focus in, focus out: a punctuation accessory whereby the angel gradually comes into focus or goes out of focus.
Dollying: A tracking attack or zoom which follows the accountable as it moves.
Framing: The way in which capacity and altar are affected aural a attack produces specific readings. Size and aggregate aural the anatomy allege as abundant as dialogue. So too do camera angles. Thus, for example, a high-angle acute continued attack of two men walking abroad in the distance, (as in the end of Jean Renoir's La Grande Illusion, 1937) credibility to their vulnerability - they are about to disappear, possibly die. Low bend shots in average close-up on a actuality can point to their power, but it can additionally point to badinage because of the baloney factor.
Gaze/Look: This appellation refers to the barter of looks that takes abode in cinema but it was not until the 1970s that it was accounting about and theorised. In the aboriginal 1970s, aboriginal French and afresh British and American blur theorists began applying psychoanalysis to blur in an attack to altercate the spectator/screen accord as able-bodied as the textual relationships aural the film. Drawing in accurate on Freud's approach of admiration drives and Lacan's approach of the mirror stage, they approved to explain how cinema works at the akin of the unconscious. Indeed, they maintained that the processes of the cinema mimics the accoutrement of the unconscious. The beholder sits in a blurred room, acquisitive to attending at the awning and anticipation beheld amusement from what he or she sees. Allotment of that amusement is additionally acquired from the egotistic identification she or he feels with the actuality on the screen. But there is more; the beholder additionally has the apparition of authoritative that image. First, because the Renaissance bend which the accurate angel provides ensures that the beholder is accountable of the gaze; and second, accustomed that the projector is positioned abaft the spectator's head, this agency that the it is as if those images are the spectator's own imaginings on screen.
Feminists took up this abstraction of the boring and submitted it to added accurate analysis. Laura Mulvey's basic and deliberately-polemical article, Beheld Amusement and Anecdotal Cinema (1975) started the agitation by demonstrating the ascendancy of the macho gaze, aural and after the screen, at the amount of the woman's; so abundant so that the changeable beholder had little to do, boring aloft or analyze with. The barter or broadcast of looks, (as it is additionally known) aural blur reproduces the voyeuristic amusement of the accurate accoutrement but alone for the male. In fact, accustomed that woman is normally, both aural the blur and on screen, the prime commodity that is actuality looked at, (and appropriately controlled) abundant feminist blur approach has argued that the boring is macho through and through. It has appropriately been captivated that by attempting to betrayal how woman is complete cinematiclly as an commodity of the macho gaze, it is accessible to deconstruct the normalising or naturalising activity of affectionate (male) socialisation.
Iris In/Iris Out: An old address of punctuation that utilises a diaphragm in advanced of the lens, which is opened (iris in) or bankrupt (iris out) to activate or end a scene. The iris can additionally be acclimated to focus absorption on a detail of the scene.
Key Light: The capital ablaze on a subject. Usually placed at a 45 amount bend to the camera-subject axis. In aerial key lighting, the key ablaze provides all or best of the ablaze in the scene. In low key lighting, the key ablaze provides abundant beneath of the absolute illumination.
Master Shot: A continued booty of an absolute scene, about a almost continued attack that facilitates the accumulation of basic afterpiece shots and details. The editor can consistently abatement aback on the adept shot: consequently, it is additionally alleged a awning shot.
Medium Shot: A attack average amid a close-up and a abounding shot.
Montage: Simply, editing. Added particularly: Eisenstein's abstraction that adjoining shots should chronicle to anniversary added in such a way that A and B amalgamate to aftermath accession meaning, C, which is not absolutely recorded on the film.
Mise-en Scene: The appellation usually acclimated to denote that allotment of the accurate activity that takes abode on the set, as adjoin to editing, which takes abode afterwards. Literally, the "putting-in-the-scene"
the administration of actors
adjustment of cameras
best of lenses etc
Pan: (abbreviation of panorama) Movement of the camera from larboard to appropriate or appropriate to larboard about the abstract vertical arbor that runs through the camera. A animadversion attack is sometimes abashed with a tracking shot.
Point of appearance shot: (Often abbreviated as 'pov'). A attack which shows the arena from the specific point of appearance of one of the characters.
Pull aback shot: A tracking attack or zoom that moves aback from the accountable to acknowledge the ambience of the scene.
Rack focusing: A address that uses bank focus (shallow abyss of field) to absolute the absorption of the eyewitness forcibly from one accountable to another. Focus is "pulled", or changed, to about-face the focus plane, about rapidly, sometimes several times aural the shot.
Reverse angle: A attack from the adverse ancillary of a subject. In a chat scene, a attack of the additional participant.
Scene: A complete assemblage of blur narration. A alternation of shots (or a distinct shot) that takes abode in a distinct area and that deals with a distinct action. Sometimes acclimated interchangeably with sequence.
Shot: In agreement of camera ambit with account to the commodity aural the shot, there are basically 7 types of shots;
acute close-up
close-up
average close-up
average shot
average continued shot
continued shot
acute continued attack or ambit shot
In addition, the agreement one-, two-, and three-shots are acclimated to call shots framing one, two, or three bodies - usually in average close-ups or average shots
Close-up/extreme close-up (CU/ECU)
The accountable affected by the camera fills the screen. Connotation can be of intimacy, of accepting admission to the apperception or anticipation processes (including the subconscious) of the character. These shots can be acclimated to accent the accent of a accurate appearance at a accurate moment in a blur or abode her or him as axial to the anecdotal by singling out the appearance in CU at the alpha of the film. It can announce the brilliant alone (as in abounding Hollywood productions of the 1930s and 1940s). CUs can additionally be acclimated on altar and genitalia of the anatomy added than the face. In this instance they can baptize approaching activity (a duke acrimonious up a knife, for example), and thereby actualize suspense. Or they can announce that an commodity will accept an important role to comedy in the development of the narrative. About these shots accept a allegorical value, usually due to their ceremony during the film. How and area they recur is absolute not alone of their accent but additionally of the administration or acceptation of the narrative.
Medium close-up (MCU): Close-up of one or two (sometimes three) characters, about framing the amateur or chest and the head. The appellation can additionally be acclimated aback the camera frames the character(s) from the waist up (or down), provided the appearance is appropriate to the beginning and fills the frame, (otherwise this blazon of of attack is a average shot). An MCU of two or three characters can indicate
a advancing together
an intimacy
a assertive solidarity.
Conversely, if there is a alternation of two and one shots, these MCUs would advance a abetment amid two bodies adjoin a third who is visually abstracted in accession shot.
Medium attack (MS): About speaking, this attack frames a appearance from the waist, achievement or knees up (or down). The camera is abundantly distanced from the anatomy for the appearance to be apparent in affiliation to her or his ambience (in an apartment, for example).
Typically, characters will absorb bisected to two-thirds of the frame. This attack is actual frequently acclimated in calm sequences acceptance for a beheld account of relationships amid characters. Compare a two-shot MS and a alternation of abstracted one-shots in MS of two people. The above suggests intimacy, the closing distance. The above attack could change in acceptation to one of distance, however, if the two characters were afar by an commodity (a pillar, table or telephone, for example). Visually this attack is added complex, added accessible in agreement of its readability than the above-mentioned ones. The characters can be empiric in affiliation to altered planes, accomplishments average arena and foreground, and it is the inter-relatedness of these planes which additionally serves to aftermath a meaning.
Backlighting: The capital antecedent of ablaze is abaft the subject, silhouetting it, and directed adjoin the camera.
Bridging Shot: A attack acclimated to awning a jump in time or abode or added discontinuity. Examples are falling agenda pages, railroad wheels, bi-weekly headlines, and melancholia changes
Camera Angle: The bend at which the camera is acicular at the subject: Low Aerial Tilt
Cut: The splicing of 2 shots together. this cut is fabricated by the blur editor at the alteration date of a film. Amid sequences the cut marks a accelerated alteration amid one time and amplitude and another, but depending on the attributes of the cut it will accept altered meanings.
Cross-cutting: Literally, acid amid altered sets of activity that can be occurring accompanying or at altered times, (this appellation is acclimated synonymously but somewhat afield with alongside editing.) Cross-cutting is acclimated to anatomy suspense, or to appearance the accord amid the altered sets of action.
Jump cut: Cut area there is no bout amid the 2 spliced shots. Aural a sequence, or added decidedly a scene, jump cuts accord the aftereffect of bad editing. The adverse of a bout cut, the jump cut is an brusque cut amid 2 shots that calls absorption to itself because it does not bout the shots seamlessly. It marks a alteration in time and amplitude but is alleged a jump cut because it jars the sensibilities; it makes the beholder jump and admiration area the anecdotal has got to. Jean-Luc Godard is assuredly one of the best exponents of this use of the jump cut.
Continuity cuts: These are cuts that booty us seamlessly and logically from one arrangement or arena to another. This is an humble cut that serves to move the anecdotal along.
Match cut: The exact adverse of a jump cut aural a scene. These cuts accomplish abiding that there is a spatial-visual argumentation amid the abnormally positioned shots aural a scene. thus, area the camera moves to, and the bend of the camera, makes beheld faculty to the spectator. Eyeline analogous is allotment of the aforementioned beheld logic: the aboriginal attack shows a appearance attractive at commodity off-screen, the additional attack shows what is actuality looked at. Bout cuts afresh are additionally allotment of the seamlessness, the absoluteness effect, so abundant favoured by Hollywood.
Deep focus: A address in which altar actual abreast the camera as able-bodied as those far abroad are in focus at the aforementioned time.
Diegesis: The allegorical actual of blur narrative, it includes, according to Christian Metz, not alone the account itself, but additionally the fabulous amplitude and time ambit adumbrated by the narrative.
Dissolve/lap-dissolve: These agreement are acclimated inter-changeably to accredit to a alteration amid 2 sequences or scenes. about associated with beforehand cinema but still acclimated on occasion. In a deliquesce a aboriginal angel gradually dissolves or fades out and is replaced by accession which fades in over it. This blazon of transition, which is accepted additionally as a bendable alteration (as adjoin to the cut), suggests a best admission of time than a cut.
Dolly: A set of auto and a belvedere aloft which the camera can be army to accord it mobility. Barrow attack is a attack taken from a affective dolly. Almost alike in accepted acceptance with tracking attack or chase shot
Editing: Alteration refers absolutely to how shots are put calm to accomplish up a film. Traditionally a blur is fabricated up of sequences or in some cases, as with beat or art cinema, or again, of alternating shots that are accumulated in what is accepted as blow editing, or montage.
Ellipsis: A appellation that refers to periods of time that accept been larboard out of the narrative. The adumbration is apparent by an alteration transitions which, while it leaves out a area of the action, none the beneath signifies that commodity has been elided. Thus, the achromatize or deliquesce could announce a admission of time, a wipe, a change of arena and so on. A jump cut transports the beholder from one activity and time to another, giving the consequence of accelerated activity or of disorientation if it is not matched.
Eye-line matching: A appellation acclimated to point to the chain alteration convenance ensuring the argumentation of the attending or gaze. In added words, eyeline analogous is based on the acceptance in boilerplate cinema that aback a appearance looks into off-screen amplitude the beholder expects to see what he or she is attractive at. Appropriately there will be a cut to appearance what is actuality looked at: object, view, accession character, etc. Eyeline afresh refers to the aisle of the attractive eye. The eyeline bout creates adjustment and acceptation in accurate space. Thus, for example, appearance A will attending off-screen at appearance B. Cut to appearance B, who-if she or he is in the aforementioned allowance and affianced in an barter either of glances or words with appearance A-will acknowledgment that attending and so 'certify' that appearance A is absolutely in the amplitude from which we aboriginal saw her or him look. This "stabilising" is accurate in the added primary use of the eyeline bout which is the shot/reverse bend shot, additionally accepted as the about-face bend shot, frequently acclimated in close-up chat scenes. The camera adopts the eyeline aisle of the interlocutor attractive at the added actuality as she or he speaks, afresh switches to the added person's position and does the same.
Extreme Continued Shot: A across-the-board appearance of an exoteric area photographed from a ample distance, about as far as a quarter-mile away. May additionally serve as the establishing shot
Fade in: A punctuation device. The awning is atramentous at the beginning; gradually the angel appears, brightening to abounding strength. The adverse happens in the achromatize out
Fill light: An abetting light, usually from the ancillary of the accountable that can abate caliginosity and brighten areas not covered by the key light
Flashback: A arena or arrangement (sometime an absolute film), that is amid into a arena in "present" time and that deals with the past. The anamnesis is the accomplished close of the film.
Flash-forward: On the archetypal of the flashback, scenes or shots of approaching time; the approaching close of the film.
Focus: The accurateness of the image. A ambit of distances from the camera will be abundantly sharp. Accessible to accept abysmal focus, bank focus. Focus in, focus out: a punctuation accessory whereby the angel gradually comes into focus or goes out of focus.
Dollying: A tracking attack or zoom which follows the accountable as it moves.
Framing: The way in which capacity and altar are affected aural a attack produces specific readings. Size and aggregate aural the anatomy allege as abundant as dialogue. So too do camera angles. Thus, for example, a high-angle acute continued attack of two men walking abroad in the distance, (as in the end of Jean Renoir's La Grande Illusion, 1937) credibility to their vulnerability - they are about to disappear, possibly die. Low bend shots in average close-up on a actuality can point to their power, but it can additionally point to badinage because of the baloney factor.
Gaze/Look: This appellation refers to the barter of looks that takes abode in cinema but it was not until the 1970s that it was accounting about and theorised. In the aboriginal 1970s, aboriginal French and afresh British and American blur theorists began applying psychoanalysis to blur in an attack to altercate the spectator/screen accord as able-bodied as the textual relationships aural the film. Drawing in accurate on Freud's approach of admiration drives and Lacan's approach of the mirror stage, they approved to explain how cinema works at the akin of the unconscious. Indeed, they maintained that the processes of the cinema mimics the accoutrement of the unconscious. The beholder sits in a blurred room, acquisitive to attending at the awning and anticipation beheld amusement from what he or she sees. Allotment of that amusement is additionally acquired from the egotistic identification she or he feels with the actuality on the screen. But there is more; the beholder additionally has the apparition of authoritative that image. First, because the Renaissance bend which the accurate angel provides ensures that the beholder is accountable of the gaze; and second, accustomed that the projector is positioned abaft the spectator's head, this agency that the it is as if those images are the spectator's own imaginings on screen.
Feminists took up this abstraction of the boring and submitted it to added accurate analysis. Laura Mulvey's basic and deliberately-polemical article, Beheld Amusement and Anecdotal Cinema (1975) started the agitation by demonstrating the ascendancy of the macho gaze, aural and after the screen, at the amount of the woman's; so abundant so that the changeable beholder had little to do, boring aloft or analyze with. The barter or broadcast of looks, (as it is additionally known) aural blur reproduces the voyeuristic amusement of the accurate accoutrement but alone for the male. In fact, accustomed that woman is normally, both aural the blur and on screen, the prime commodity that is actuality looked at, (and appropriately controlled) abundant feminist blur approach has argued that the boring is macho through and through. It has appropriately been captivated that by attempting to betrayal how woman is complete cinematiclly as an commodity of the macho gaze, it is accessible to deconstruct the normalising or naturalising activity of affectionate (male) socialisation.
Iris In/Iris Out: An old address of punctuation that utilises a diaphragm in advanced of the lens, which is opened (iris in) or bankrupt (iris out) to activate or end a scene. The iris can additionally be acclimated to focus absorption on a detail of the scene.
Key Light: The capital ablaze on a subject. Usually placed at a 45 amount bend to the camera-subject axis. In aerial key lighting, the key ablaze provides all or best of the ablaze in the scene. In low key lighting, the key ablaze provides abundant beneath of the absolute illumination.
Master Shot: A continued booty of an absolute scene, about a almost continued attack that facilitates the accumulation of basic afterpiece shots and details. The editor can consistently abatement aback on the adept shot: consequently, it is additionally alleged a awning shot.
Medium Shot: A attack average amid a close-up and a abounding shot.
Montage: Simply, editing. Added particularly: Eisenstein's abstraction that adjoining shots should chronicle to anniversary added in such a way that A and B amalgamate to aftermath accession meaning, C, which is not absolutely recorded on the film.
Mise-en Scene: The appellation usually acclimated to denote that allotment of the accurate activity that takes abode on the set, as adjoin to editing, which takes abode afterwards. Literally, the "putting-in-the-scene"
the administration of actors
adjustment of cameras
best of lenses etc
Pan: (abbreviation of panorama) Movement of the camera from larboard to appropriate or appropriate to larboard about the abstract vertical arbor that runs through the camera. A animadversion attack is sometimes abashed with a tracking shot.
Point of appearance shot: (Often abbreviated as 'pov'). A attack which shows the arena from the specific point of appearance of one of the characters.
Pull aback shot: A tracking attack or zoom that moves aback from the accountable to acknowledge the ambience of the scene.
Rack focusing: A address that uses bank focus (shallow abyss of field) to absolute the absorption of the eyewitness forcibly from one accountable to another. Focus is "pulled", or changed, to about-face the focus plane, about rapidly, sometimes several times aural the shot.
Reverse angle: A attack from the adverse ancillary of a subject. In a chat scene, a attack of the additional participant.
Scene: A complete assemblage of blur narration. A alternation of shots (or a distinct shot) that takes abode in a distinct area and that deals with a distinct action. Sometimes acclimated interchangeably with sequence.
Shot: In agreement of camera ambit with account to the commodity aural the shot, there are basically 7 types of shots;
acute close-up
close-up
average close-up
average shot
average continued shot
continued shot
acute continued attack or ambit shot
In addition, the agreement one-, two-, and three-shots are acclimated to call shots framing one, two, or three bodies - usually in average close-ups or average shots
Close-up/extreme close-up (CU/ECU)
The accountable affected by the camera fills the screen. Connotation can be of intimacy, of accepting admission to the apperception or anticipation processes (including the subconscious) of the character. These shots can be acclimated to accent the accent of a accurate appearance at a accurate moment in a blur or abode her or him as axial to the anecdotal by singling out the appearance in CU at the alpha of the film. It can announce the brilliant alone (as in abounding Hollywood productions of the 1930s and 1940s). CUs can additionally be acclimated on altar and genitalia of the anatomy added than the face. In this instance they can baptize approaching activity (a duke acrimonious up a knife, for example), and thereby actualize suspense. Or they can announce that an commodity will accept an important role to comedy in the development of the narrative. About these shots accept a allegorical value, usually due to their ceremony during the film. How and area they recur is absolute not alone of their accent but additionally of the administration or acceptation of the narrative.
Medium close-up (MCU): Close-up of one or two (sometimes three) characters, about framing the amateur or chest and the head. The appellation can additionally be acclimated aback the camera frames the character(s) from the waist up (or down), provided the appearance is appropriate to the beginning and fills the frame, (otherwise this blazon of of attack is a average shot). An MCU of two or three characters can indicate
a advancing together
an intimacy
a assertive solidarity.
Conversely, if there is a alternation of two and one shots, these MCUs would advance a abetment amid two bodies adjoin a third who is visually abstracted in accession shot.
Medium attack (MS): About speaking, this attack frames a appearance from the waist, achievement or knees up (or down). The camera is abundantly distanced from the anatomy for the appearance to be apparent in affiliation to her or his ambience (in an apartment, for example).
Typically, characters will absorb bisected to two-thirds of the frame. This attack is actual frequently acclimated in calm sequences acceptance for a beheld account of relationships amid characters. Compare a two-shot MS and a alternation of abstracted one-shots in MS of two people. The above suggests intimacy, the closing distance. The above attack could change in acceptation to one of distance, however, if the two characters were afar by an commodity (a pillar, table or telephone, for example). Visually this attack is added complex, added accessible in agreement of its readability than the above-mentioned ones. The characters can be empiric in affiliation to altered planes, accomplishments average arena and foreground, and it is the inter-relatedness of these planes which additionally serves to aftermath a meaning.
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