{"title":"15班舞台和构图的左右动态","authors":"Martin P. Rossouw","doi":"10.1386/sfs.9.1.101_1","DOIUrl":null,"url":null,"abstract":"The climax of Class 15 features a reverse cut that displaces the teacher from his fixed position on frame left to frame right. The functions of this decisive shift are examined, following Rudolf Arnheim and others, in light of conventional associations attached to the left- and right-hand\n sides of pictures.","PeriodicalId":40193,"journal":{"name":"Short Film Studies","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Left-right dynamics of staging and composition in Class 15\",\"authors\":\"Martin P. Rossouw\",\"doi\":\"10.1386/sfs.9.1.101_1\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The climax of Class 15 features a reverse cut that displaces the teacher from his fixed position on frame left to frame right. The functions of this decisive shift are examined, following Rudolf Arnheim and others, in light of conventional associations attached to the left- and right-hand\\n sides of pictures.\",\"PeriodicalId\":40193,\"journal\":{\"name\":\"Short Film Studies\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2019-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Short Film Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1386/sfs.9.1.101_1\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Short Film Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/sfs.9.1.101_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
Left-right dynamics of staging and composition in Class 15
The climax of Class 15 features a reverse cut that displaces the teacher from his fixed position on frame left to frame right. The functions of this decisive shift are examined, following Rudolf Arnheim and others, in light of conventional associations attached to the left- and right-hand
sides of pictures.
期刊介绍:
The main purposes of SFS are: To stimulate ongoing research on individual short films as a basis for a better understanding of the art form To provide a flow of cutting-edge teaching materials that can be used in courses in which short films are either studied or produced, at film schools or universities To offer fresh inspiration to filmmakers and other professionals working with short films in connection with festivals, national film institutes, regional film centres, etc. While the principal focus is on the short fiction film, other classic forms – such as the short documentary, the short experimental film and the short animation film – are also covered from time to time. In each issue, two productions are singled out for comprehensive presentation and close study. For each film, the reader will find production data, an interview with the director, a shot-by-shot breakdown of the film with a still illustrating every shot, a number of peer-reviewed articles that illuminate the film from a variety of perspectives and a link enabling subscribers to view the film.