Compressing, Expanding, and Ending Scenes

Author(s):  
Brine Kelly

Chapter 9 describes and illustrates several shooting and editing techniques for compressing or expanding time within a scene, as well as techniques for ending scenes. A movie usually tells a story that takes place over days, months, or years. Compressing a story into an hour or two of screen time requires techniques that move time ahead in ways that seem natural to viewers. Most of a film’s acceleration of time occurs between scenes, but time within a scene is often compressed even though it seems continuous. Some of the time manipulation techniques that are examined are transitions, jump cuts, cutaways, cross-cutting scenes with parallel action, repeating action, and slow motion.

2010 ◽  
Vol 20 (1) ◽  
pp. 9-13 ◽  
Author(s):  
Glenn Tellis ◽  
Lori Cimino ◽  
Jennifer Alberti

Abstract The purpose of this article is to provide clinical supervisors with information pertaining to state-of-the-art clinic observation technology. We use a novel video-capture technology, the Landro Play Analyzer, to supervise clinical sessions as well as to train students to improve their clinical skills. We can observe four clinical sessions simultaneously from a central observation center. In addition, speech samples can be analyzed in real-time; saved on a CD, DVD, or flash/jump drive; viewed in slow motion; paused; and analyzed with Microsoft Excel. Procedures for applying the technology for clinical training and supervision will be discussed.


2008 ◽  
Vol 42 (4) ◽  
pp. 37
Author(s):  
MARY ANN MOON
Keyword(s):  

PsycCRITIQUES ◽  
2007 ◽  
Vol 5252 (4141) ◽  
Author(s):  
Fran C. Blumberg ◽  
Daniel P. Auld
Keyword(s):  

2013 ◽  
Author(s):  
Marisa A. Murray ◽  
Ronald J. Sigal ◽  
Glen P. Kenny ◽  
Stasia Hadjiyannakis ◽  
Angela S. Alberga ◽  
...  

2020 ◽  
Author(s):  
Claire Smith ◽  
Tanja de Wilde ◽  
Rachael W. Taylor ◽  
Barbara C. Galland
Keyword(s):  

2013 ◽  
Vol 68 (2) ◽  
pp. 145-179
Author(s):  
John Cyril Barton

This essay is the first to examine Melville’s “The Town-Ho’s Story” (Chapter 54 of Moby-Dick [1851]) in relation to W. B. Stevenson’s then-popular-but-now-forgotten British travel narrative, Twenty Years’ Residence in South America (1825). Drawing from suggestive circumstances and parallel action unfolding in each, I make a case for the English sailor’s encounter with the Spanish Inquisition in Lima as important source material for the Limanian setting that frames Melville’s tale. In bringing to light a new source for Moby-Dick, I argue that Melville refracts Stevenson’s actual encounter with the Inquisition in Lima to produce a symbolic, mock confrontation with Old-World authority represented in the inquisitorial Dons and the overall context of the story. Thus, the purpose of the essay is twofold: first, to recover an elusive source for understanding the allusive framework of “The Town-Ho’s Story,” a setting that has perplexed some of Melville’s best critics; and second, to illuminate Melville’s use of Lima and the Inquisition as tropes crucial for understanding a larger symbolic confrontation between the modern citizen (or subject) and despotic authority that plays out not only in Moby-Dick but also in other works such as Mardi (1849), White-Jacket (1850), “Benito Cereno” (1855), Clarel (1876), and The Confidence-Man (1857), wherein the last of which the author wrote on the frontispiece of a personal copy, “Dedicated to Victims of Auto da Fe.”


PEDIATRICS ◽  
2016 ◽  
Vol 137 (Supplement 3) ◽  
pp. 19A-19A ◽  
Author(s):  
Sahel Hazrati ◽  
Kathi C. Huddleston ◽  
Kathleen Donnelly ◽  
David Ascher ◽  
John E. Niederhuber

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