Overview Part 2: <\/p>\n\n\n\n
5. Visual Rhythm<\/p>\n\n\n\n
6. Picture + Sound<\/p>\n\n\n\n
7. Advantages of Film Rhythm<\/p>\n\n\n\n
************************************************************************<\/p>\n\n\n\n
5. VISUAL RHYTHM<\/strong><\/p>\n\n\n\n Visual rhythm is expressed in different ways.<\/p>\n\n\n\n First of all, visual rhythm is shaped by the \u201ccomplex orchestration of the mise-en-sc\u00e8ne \u2013 its composition, lighting and movement\u201d[1]<\/a> and second of all it is composed in the editing room.<\/p>\n\n\n\n The construction of an image consists of \u201csymmetry, balance, repetition, opposition \u2013 all patterns that occupy, entertain, and intrigue the eye\u201d.[2]<\/a><\/p>\n\n\n\n Rhythm is bound to MOVEMENT.<\/strong>[3]<\/a> Rhythmic dynamics are reached by \u201cmovement within a shot[4]<\/a>, movement of the camera, movement of editing and the general feeling of temporality\u201d[5]<\/a>. Focusing on one frame \u201cmovement of our eyes\u201d[6]<\/a> is needed to perceive every detail \u201cbecause visual stimuli occur in succession\u201d.<\/p>\n\n\n\n The editor decides the length of each frame, cutting on sound rhythms, on movement and taking into account the content of each frame. A wide angle with lots of small details normally needs more screentime to see the whole surrounding whereas a detailshot already sums up the most important massage concentrated on one detail. <\/p>\n\n\n\n \u201cEach image tells its own story and must therefore be considered individually. One image will convey all its meaning in a short space of time, another will take longer: this must be taken into account if the increased rate of cutting is not to lead to obscurity.\u201d[7]<\/a><\/p>\n\n\n\n The image itself inheres the \u201cintensity of a frame\u2019s content and the duration of its visual units\u201d.[8]<\/a><\/p>\n\n\n\n \u201cRhythm [in film] has more to do with relationships of intensity [than duration] \u2013 but relationships of intensity contained within relationships of duration … The intensity of a shot depends on the amount of movement (physical, dramatic or psychological) contained in it and on the length of time it lasts.\u201d Danijela Kulezic-Wilson, p.39 referring to Jean Mitry (2000, p. 222)<\/p>\n\n\n\n The rhythmic montage is not only a \u201cpowerful sensual experience\u201d but also \u201ccontributes to our deeper understanding of film\u201d[9]<\/a>.<\/p>\n\n\n\n 6. PICTURE + SOUND<\/strong><\/p>\n\n\n\n Film rhythm never works only visually or aural but as a combination.<\/p>\n\n\n\n Rhythm is not only successful through \u201cthe synchronization of the movement of music and the movement generated by elements of the visual composition\u201d[10]<\/a> but also independent storytelling of both features that \u201cchanges the perception of visual movement by adding sonic rhythm and a sense of continuity to it\u201d.[11]<\/a><\/p>\n\n\n\n Describing the sound of the robbery scene of Odd Man Out<\/em>, Karel Reisz depicts a \u201csound-picture counterpoint\u201d: The group of men hurrying up during their robbery is accompanied by \u201ccasual rhythmic beat of mill machinery slows down the pace of the scene to convey something of their state of mind. \u201d[12]<\/a> This reduction of tempo in the audio layer emphasises the rushing time and the \u201cworking \u2019against time\u2019\u201d.[13]<\/a> This \u201csound-picture counterpoint\u201d plays with information within the visual and the aural level. The audience should perceive these two layers combined without realizing the contrast.[14]<\/a> In Film as an audio-visual medium \u201cboth components are responsible for its intensity\u201d[15]<\/a> Of the content.<\/p>\n\n\n\n 7. ADVANTAGES OF FILM RHYTHM<\/strong><\/p>\n\n\n\n There are lots of reasons why to include rhythm in film. The first advantage is that \u201cStrong rhythmic components onscreen help us maintain concentration and remember what we saw\u201d.[16]<\/a><\/p>\n\n\n\n \u201cMusical perception tests have demonstrated that rhythmical grouping can help one to remember as many small groups as one can individual objects without grouping. Also, if individual sounds are grouped hierarchically in measures, phrases, periods and movements, the ability to grasp larger and larger units increases (Seashore, 1967).\u201d[17]<\/a><\/p>\n\n\n\n Rhythm functions the same way how we perceive information, always in titbits. The provided structure helps our brain to understand the complexity in steps and focus the attention.[18]<\/a><\/p>\n\n\n\n \u201cThus, it seems plausible that if the principles of periodicity and grouping are applied to a large-scale form in either music or film, the ability to comprehend the structural relationships of that form will certainly be increased. Rhythms of patterns, changes and repetitions, tension and relaxation, anticipation and expectation in an art form do not always have to be perceived and recognized consciously, as long as one responds to their pulsation.\u201d [19]<\/a><\/p>\n\n\n\n Moreover, repetitions[20]<\/a>, motifs and symbols help us remembering and making connections.<\/p>\n\n\n\n In the film In the mood for love<\/em> by Wong Kar-wai repetitions play an important part. The passing time is shown by lots of different shots of the two protagonists and neighbours Mr Chow (Tony Leung) and Mrs Lizhen Chan (Maggie Cheung) going up and down the stairs to a tiny noodle shop to get their ready-made dinner with varying weather conditions. [21]<\/a><\/p>\n\n\n\n [1]<\/a> Kulezic-Wilson, 2015, p. 43<\/p>\n\n\n\n [2]<\/a> Rabiger, Hermann, 2020, p.87<\/p>\n\n\n\n [3]<\/a> Vgl. Kulezic-Wilson, 2015, p.37<\/p>\n\n\n\n [4]<\/a> Vgl. Reisz 2010, 205<\/p>\n\n\n\n [5]<\/a> Kulezic-Wilson, 2015, p42<\/p>\n\n\n\n [6]<\/a> Kulezic-Wilson, 2015 p42<\/p>\n\n\n\n [7]<\/a> Reisz, 2010, p.202<\/p>\n\n\n\n [8]<\/a> Kulezic-Wilson, 2015, p.39<\/p>\n\n\n\n [9]<\/a> Kulezic-Wilson, 2015, p.47<\/p>\n\n\n\n [10]<\/a> Kulezic-Wilson, 2015, p.85<\/p>\n\n\n\n [11]<\/a> Kulezic-Wilson, 2015, p.86<\/p>\n\n\n\n [12]<\/a> Reisz, Karel; Millar, Garvin: The Technique of Film Editing, 2nd<\/sup> edition, Burlington, USA; Oxford, UK: Focal Press, 2010, 226.<\/p>\n\n\n\n [13]<\/a> Reisz, 2010, 226.<\/p>\n\n\n\n [14]<\/a> Vgl. Reisz, 2010, 226.<\/p>\n\n\n\n [15]<\/a> Kulezic-Wilson, 2015, p.39<\/p>\n\n\n\n [16]<\/a> Rabiger, Hermann 2020: p.87<\/p>\n\n\n\n [17]<\/a> Kulezic-Wilson, 2015, p.53f.<\/p>\n\n\n\n [18]<\/a> Kulezic-Wilson, 2015, p.54.<\/p>\n\n\n\n [19]<\/a> Kulezic-Wilson, 2015, p.54.<\/p>\n\n\n\n
\n\n\n\n