4 Matching Annotations
  1. Feb 2022
    1. the lifelike acting of an actor is built, not on his repre­senting the copied results of feelings, but on his causing the feelings to arise, develop, grow . into other feelings­to live before the spectator. Hence the image of a scene, a sequence, of a whole creation, exists not as something fixed and ready­made. It has to arise, to unfold before the senses of the spectator.

      The author explains that any scene is something dynamic rather than stable.

    2. packed into one ,vord like a portmanteau," concludes his introduction to The Hunting of the Snark: For instance, take the two words "fuming" and "furious." Make up your mind that you will say both words, but leave it unsettled which you will say first. Now open your mouth and speak. If your thoughts incline ever so little towards "fuming," you will say "fuming-furious"; if they turn, by even a hair's breadth, towards "furious," you vvill say . "furious-fuming"; but if you have that rarest of gifts, a per­fectly balanced mind, you will say "frumious."

      "Portmanteau" can arise not only from the interaction of sentences or paragraphs but even words. It does not create a new concept but adds uniqueness to the text

    3. This property con­sisted in the fact that two {ihn pieces of any kind, placed together, inevitably combine into a new concept, a new quality, arising out of tbat jux!aposition. This is not in the least a circumstance peculiar to the cinema, but is a phenomenon invariably. met with in all cases where we have to deal with juxtaposition of two facts, two phenome�a, two objects

      This notion underlines how the interaction between two pieces of video or text can produce a "new concept". Thus, the placing of structural units in a book is important.

    4. Why do we use montage at all? Even the most fanat­ical opponent of montage will agree that it is not merely because the film strip at our disposal is n�t of infinite length, and consequently� being condemned to working with pieces of restricted lengths, ,ve have to. stick one piece of it on to an<;>ther . occasionally .

      This passage explains the importance of montage by projecting film montage onto the one in literature