Category Archives: form cut / match cut

The Magic Behind the Curtain

Posted on February 6, 2013 by fnbmbm

For my first concept, I chose to explore the subjective camera. At one point in his article, Bernard Dick defines the subjective shot metaphorically as, “a one-sided take on reality”. However, the subjective shot is more easily understood by one of … Continue reading →

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Lights, Camera, ACTION!

Posted on February 6, 2013 by acampion

Rack Focus Bernard Dick says directors use rack focus to conceal a character’s identity before a big reveal. Imagine a scene where the villain is walking towards his victim. A director might first have the victim in the foreground as … Continue reading →

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Innocent Sunflower Girl and Daniel LaRusso

Posted on February 6, 2013 by gbust

Rack focus Dick describes rack focus to be when the background is “a blur and the foreground sharp; then the background will be sharp and the foreground blurry” (pg. 93). The purpose of this technique is to conceal someone’s or … Continue reading →

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Cinematic Tropes in Animation

Posted on February 6, 2013 by rdietz1

The first type of shot I will discuss is the subjective camera shot. Dick writes, “An objective shot represents what the camera sees; a subjective shot represents what the character sees.” (p. 56) Whereas an objective shot will show the whole … Continue reading →

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Blog #2. Fleshing out film jargon with examples

Posted on January 31, 2013 by Althea Delwiche

On Monday (2/4) and Wednesday (2/6), we are reading excerpts from Bernard Dick’s classic textbook The Anatomy of Film. Many of Dick’s examples reference movies that are unfamiliar to contemporary audiences. Your next blog assignment asks you to track down YouTube … Continue reading →

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