Research methods in visual media

Trailer Analysis
By Florin-Alexandru Iordache

I. Theoretical introduction

For my in-depth study of research methods in visual media on the first year I've chose for my
final project the 2016 Olympic Games Trailer from BBC Sport - see here:
https://www.youtube.com/watch?v=CKcEySuuUuE.
As I’ve already mentioned during this semester, my interest area of creative industries are the
film montage theory together with the main montage techniques in practice, but also the film
composition, types of shots, camera angles and positions, frames disposal, frequency and
rhythm, constructing film meaning by use of symbols and specific imagery and how all these
elements work together to tell the story as best and efficiently as possible.
As a research approach and analyses for this movie I’ve choose a method which is not
different from the one used by some early soviet filmmakers like Vsevolod Pudovkin or Serghei
Eisenstein who at the beginning of their career started experimenting pretty much on the
montage techniques and later they became main film theorists on montage and film technique.
One of the main reason which motivates me it is the fact that I have a technical educational
background. Besides the “eye of the artist”, both Pudovkin and Eisenstein had a strong analytical
spirit derived from their training as engineers. At 25 years Pudovkin was a student engineering in
Moscow interested in chemistry and physics, meanwhile Eisenstein studied Architecture in
Petrograd. When the Bolseviks took the power in Russia and nationalized the film industry, there
was virtually no raw film stock in the country. Some enterprising Russian filmmakers took a
different approach. They started studying films and they didn't just watch, they dissected them -
took the actual reels of film, cut them apart, and analyzed them. The filmmakers began
experimenting - rearranging the order of the shots, shortening some, repeating others - all to see
what the effect might be. The main questions were: how long were the shots, what was the
camera angle, how was the image composed, how did they do thing, how were the shots
edited together? In what order, and why? To encourage this experimentation, the government
founded the world's first film school in 1919. 1
Montage comes from the French word, meaning "assembling" or "editing"2. In order to
control the psychological guidance of the spectator, Pudovkin gave 5 editing examples:
- contrast - by cutting from one shot to a drastically different shot a film editor can force the
viewer to compare two opposing scenes in their mind, “the most effective, but also one of the
commonest and most standardized, of methods, and so care should be taken not to overdo it.”3
Film example: In 2001 Kubrick Space Odyssey the juxtaposition of shots( a bone as a primitive
tool of an eighth man flying to the air vs. the space station similar in shape and size) suggest
how much mankind has evolved over the years.4

1
(Soviet Montage: Crash Course Film History)
2
Idem
3
(Despre Arta filmului, 1955)
4
(Pudovkin's 5 Editing Techniques, 2013)
 - parallelism - a way of connecting two scenes visually by matching certain elements within the
scene; Film example: In 1951 Hitchcock Strangers on the train the director use parallelism when
cutting back and forth between feet of two strangers walking on train plows suggesting that
somehow are tied together even we do know who they are.5
- symbolic - “especially interesting because, by means of editing, it introduces an abstract
concept into the consciousness of the spectator without use of a title.”6; Film example: In Psycho
Hitchcock use a cut that goes from blood flowing down a bathtub drain to the eye of Janet
Leigh's murdered character - a metaphor of a life down the drain.
- simultaneity - constructed from the simultaneous rapid development of two actions, in which
the outcome of one depends on the outcome of the other. Film example: the end of the present-
day section of Intolerance. 7
- leitmotif - usually used as a musical term it describes a recurring musical phrase associated
with a particular person place or idea.8 Film example: in Monsieur Verdoux Charlie Chaplin use
the train wheels every time he travel from one place to another.
Eisenstein believed that montage was a theory which operated dialectically.9 He saw the
collision of a one shot or montage cell with another as creating conflict that produced a new idea.
This new idea would become it’s own thesis and collide with another anti-thesis creating yet
another synthesis idea. Again and again these dialectics build up in a film like a “series of
controlled explosions in an internal combustion engine driving the film forward”10. Regarding
editing, Eisenstein lists also five methods of montage or how these collisions between shots can
be created each one building up in complexity:
- metric - cutting based purely on the length of shot. The fragments are joined together by their
actual length corresponding to the mathematically calculated length of the fragment according to
a metric formula in order that the tempo can be raised or lowered for effect 11
- rhythmic - like metric montage except that the content within the frame of the film is a factor
which posses equal importance in the determination of the actual length of the fragment, which is
not determined by an absolute formula, but rather “derives from the specifics of the piece and
from its planned length according to the structure of the sequence.” 12, cutting in tempo with the
action
- tonal montage - deals with the tone of the shot - from lighting, shadows and shapes in the
frame.
- overtonal - combines metric, rhythmic, and tonal montage and does not “...concentrate on the
dominant in each film fragment but on the overtones” 13
Although may have different names, the montage techniques used by the incipient Soviet
filmmakers are largely the same.

5
(Pudovkin's 5 Editing Techniques, 2013)
6
(Despre Arta filmului, 1955)
7
Ibidem
8
Idem
9
(Eisenstein's Film Theory of montage and architecture, 1989)
10
(The History of Cutting - The Soviet Theory of Montage, 2014)
11
(Eisenstein's Film Theory of montage and architecture, 1989)
12
Idem
13
Idem
 II. Trailer analysis from early Soviet perspective

Trying to answer the main questions raised by the early Soviet film school experimenters,
outlined in the first part of my research paper, I split the clip into scenes, the scenes in different
shots, considering the type of character / characters that appears in the frame, the shot
composition - framing, shot type, shooting angle and camera positions. As can be seen from the
table in Appendix 1, I identified seven stories with 7 different types of animals in the clip,
assigning it to each one a number, from 1 to 7.
The main story starts in an ambiance that almost until the end will prove to be common - the
jungle - coded by 0 Nr., and as their stories and their play evolve, trough the mastery of montage
the clip reveal us that is about the Olympic Games in RIO. At the end, the city, near the jungle,
and the athletes, will appear. The parallelism and analogy between jungle/city, animals/athletes,
placed symmetrically (beginning/end), is evident. The outer reality of the immediate vicinity of
place that will host the competition achieve meaning by suggesting that the thirst for competition
and adrenaline of athletes is fueled by their inner beasts. By this, the animal itself becomes a
symbol. It seems that people in competition find inspiration in the hard struggle of the animals
for survival.

a) Composition:

Composition describe the “way a director positions, groups, arranges, and views objects
within the frame when he’s filming a scene”.14
The concept of composition is inherited from thousands of years of art history, and is every
bit as meaningful in the world of motion pictures.
I've separated the scenes containing a different type character, besides the ambient scenes
that are symmetrically positioned (at the beginning - the jungle, middle - sky lightning and
thunder, and end), and these in turn I split them into specific frames/shots, considering the classic
types of frames for which I've used abbreviations and camera positions. The abbreviations are in
the double version, English and Romanian, for this see the Shots Legend. I used the notations
from 15 and 16.
In my analysis I took into account the camera height, angle and position but also the action
that camera describe in a specific shot. The height of the camera has a considerable effect on the
meaning of a shot. In the clip a large variety of camera angles are used: aerial/extreme angles,
dramatic angles like raccourci/contra-plonje or plonje, but also normal/neutral. A dramatic angle
adds to the emotional impact of a scene. A low camera angle makes characters and objects seem
“tall and powerful”17 - raccourci or contra-plonje shots. Examples in Appendix 2, Fig. 14,15,16.
A high camera angle gives the characters a “diminished feel”18, see the plonje in Fig.17. A
bird’s-Eye View is an Extreme Angle in which the camera is positioned directly above a scene,
“facing straight down”19, see example in Fig. 19. Regarding raccourci or contra-plone angle, two
types of views are used: stomach view, where the interlocutor is filmed from the height of the
14
(Vineyard, January 2000)
15
(Baltatu, 1967)
16
(Denumirea incadraturilor: unghiurile de vedere si perspectiva)
17
(Vineyard, January 2000)
18
Idem
19
Idem
stomach and the character so filmed dominates us, imposing itself in front of us and growing in
importance( Fig.15 and 16) and frog view - is used to highlight the movement of the legs
(Fig.12) or the height of a possible jump (Fig. 10, 20)20.
The main camera actions used in the clip are: panning, an horizontal axis movement known
as re-framing the shot, can be used within a scene to follow characters as they move around
(Fig. 17, 21) , tilt - the vertical axis of camera movement (Fig. 22), travelling - the camera move
on a dolly(Fig. 23), tracking shot -a particular travelling case in which the camera mounted on a
dolly move alongside the character (Fig. 8), pull back reveal in which the camera moves
backwards to reveal the true extent of a scene(Fig. 24), pull back retraction - when the camera
faces a scene and moves backwards(Fig. 25).
Taking into consideration the camera positioning, I took into account whether this was
behind(back) or in front of the character but also I identified the positions (external or internal
opposite angles) considering the triangular camera principle. According to this, a composition
in right line can be visualized by three arrangements: internal or external opposing angles or
parallel positions. An important rule of the triangle principle is to select a line of interest and to
focus on one part of it. The line of interest may be the direction of the eyes exchanged by the two
characters or the line on which the action takes place in the frame. A line of interest can be
noticed from three extreme positions, without going away from one another. These three extreme
positions form a triangular figure whose base is parallel to the line of interest. 21
The composition of most of the shots follows the rule of thirds, which “proposes that an
image should be imagined as divided into nine equal parts by two equally spaced horizontal lines
and two equally spaced vertical lines, and that important compositional elements should be
placed along these lines or their intersections”.22 Examples in Fig.1,5,6. In other cases, the
character is placed right into the center of frame, see Fig. 3,7,15. When two characters appear in
the frame, beside the rule of thirds, also the principle of symmetry is followed - Fig.26.
Many shots bear the mark of a “Dark voyeur” frame which is a psychological thriller
gimmick used in the classic horror (as an example, see the movie “Friday the 13th”). The
technique is used to evoke feelings of the character in a film being watched, usually by someone
with malicious intentions. It works by framing the characters in the scene through the bushes,
plants or tree leaves. This gives the impression that “someone is watching them, but doesn’t want
to be seen.” 23
In the trailer, the dark voyeur is used not from a horror perspective but to suggest that the
persons who will watch the competition will be the spectators - this makes the trailer more
interactive, giving the impression that they will be also involved in the show. It is also used for
compositional reasons, making from time to time the connection with the environment and
ambiance in which the competition will take place. The frames showing us the jungle are shown
at the beginning, but we are constantly reminded of this during the film, just to suggest that the
jungle, the wilderness is tangible. It seems to suggest us, that the jungle is so close to us. What is
remarkable is that the “Dark Voyeur” perspective is used even when an internal opposite angle
of the camera placed between the 2 monkeys is used - we don’t see trees between the 2 monkeys

20
(Denumirea incadraturilor: unghiurile de vedere si perspectiva)
21
(Arijon, 2013)
22
(Peterson, 2003)
23
Idem
which means the camera requires a telephoto zoom lenses and is being behind a tree or bushes. -
Fig. 1, Appendix 2. See other examples in Fig.2,3,4,5,6,7,8.
Depth Staging involves placing the characters in the frame at excessive distances from each
other, emphasizing depth.24. Here is used for building the composition for characters playing a
game. Film example : Citizen Kane, examples here - Fig.8,9,10, Appendix 2.
In pull focus shot a camera technique is used in order to change focus from one character
existing in the frame to a new one, which enters in the frame. In our case, is used in combination
with depth staging perspective in the same shot --> see Fig. 12, 13, Appendix 2.
What I’ve also noticed it is the fact that in the two “pull focus ” shots used in the clip the two
types of animals(tiger and crocodile) move in the frame in the opposite direction, which helps the
“internal combustion engine” driving the film forward. It is a like an explosion, containing an
extra nuance of combat, confrontational, once more showing us the dialectical base of montage.
In the frames in which is built the analogy between beast and man trough parallelism,
techniques of whip pan and whip cut are used. With a Whip Pan the camera is moved quickly
from one angle to another, causing the image to blur from the motion. If the camera zoom in, the
effect of the Whip Pan will increase. This is because more apparent distance is covered by the
zoom camera effect. The blur that occurs during a Whip Pan can be used to make a creative
Whip Cut. “By starting out with a Whip Pan and cutting to another Whip Pan, the audience
never notices the difference between the two blurs, making for a transparent transition.” 25
.Usually these techniques express the escalating intensity of the story, which is also the case in
our clip, because they are used in the most intense moments, just right before solving the story.

b) Montage:

The theory of montage proposes that films derive their ultimate power and meaning
through the way the shots are cut together - their order, duration, repetition, and rhythm. Beyond
that, Soviet Montage filmmakers believed that for film to reach its true potential, the cuts
themselves should be visible. This style of editing is called discontinuity and it fit
quite neatly into the political idea that the Soviet Montage filmmakers had: that the artist was
an engineer, simply joining shots as a worker. Rhythmic montage matches the cuts to music,
sound effects or action on screen. Modern movie trailers do this all the time, using music to
link various shots from a movie.
The montage scheme is according to Appendix 1:

(0_1 --> 0_2) --> 1_1 --> 2_1 --> 4_1 --> 2_2--> (5_1 --> 5_2 -->5_3) --> (4_2 -->
4_3 --> 4_4)--> 6_1--> (1_2 --> 1_3 --> 1_4 --> 1_5 --> 1_6 --> 1_7) --> (3_1 -->
3_2) --> 6_2 --> (2_3 --> 2_4 --> 2_5) --> (4_5 --> 4_6) --> 0_3 -->1_8 --> 5_4 -->
(4_7--> 4_8) --> (7_1 --> 7_2) --> 3_3 --> 6_3 -->
(4_9 -->4_10) --> (5_5 --> 5_6) --> 1_9 --> 6_4 --> 2_6 --> 5_7 --> 6_5 --> 7_2 -->
(2_7 --> 2_8) --> (3_4 --> 3_5) -->
(4_11 --> 4_12) --> 1_10 --> 8_1 --> 1_10 --> 8_1 --> 6_6 --> 8_2-->1_11 -->8.3-->
8.4

24
Idem
25
(Vineyard, January 2000)
 Color Legend:

- green - used for ambiance, landscape, locations, or establishing shots (jungle -

beginning and the city - end)
- blue - used to suggest tonal montage in shots - the presence of lightning and
thunder, the imminence of a storm which announces the beginning of the competition,
contributing to create the “war atmosphere” between animals, symbol of an exit from
a calm situation/atmosphere
-mauve- used to identify/suggest the “dark voyeur” tint of some shots
- yellow- used to identify/suggest the “pull focus” type of shots but also the opposite
direction in order to suggest the imminence beginning of a confrontational game
- orange- used to identify/suggest the shots in which the character appears centrally
and symmetrically in the frame, whatever type of shot it is about: PA, ECU, MS,
BCU, CU, etc...
- dark green- used to suggest the symmetric disposal of the characters if there are two
characters, following the rule of thirds
- black light - used to identify/suggest the “depth staging” shots

This clip, even if it's an animation make's no exception and follows the same principle. A
rhythmic montage with visible cuts is used to assemble pieces of several stories that feature
different characters as protagonists. To prove this, I've re-assembled the montage in a more linear
way, composing every story with each type of character sequential.
But using this approach, is much harder to develop the final idea of the clip, because is much
harder to evolve gradually, faster and faster to climax, when the analogy between animals and
humans is build. In this way, the rhythm will not increase gradually. Instead it will increase and
decreases cyclically, and we don’t need this. Moreover, I think the montage it is overtonal.
Because is combining metric, rhythmic and tonal montage. Tonal montage in matter of
ambiance(the jungle ambiance is present in almost every shot), lightning and thunder - see 4_6 --
> 0_3 -->1_8 sequence, suggesting the imminence of a storm and “war atmosphere”, also in
matter of lull, suggested by the cascade, in matter of sound and music. Metric because the stories
together with the types of characters are repeated during the clip. Outer this, a parallelism
between animals and humans is build, and this type of montage evolve to an intellectual
montage, when the animals transform into humans, suggesting that the thirst for competition and
adrenaline of humans is fueled by their inner beasts. In conclusion we encounter almost all types
of Soviet montage. Which is quite normal, because we face a trailer, a modern trailer one.

III. Conclusions:

The current video, although it's an animation, is an example of a modern trailer because it has
many of the attributes and rules that build such a video. It is made up of a collage of stories
featuring different types of animals that compete in sports competitions in a wild ambience.
All these are put together through a rhythmic montage, which gradually evolves to a
overtonal montage, including tonal montage fireworks but also those of parallelism or
intellectual/symbolic montage. The cuts are visible even if the shots juxtaposition follows
classical principles, and the video gives the impression that it works according to engineering
principles, going forward like an engine with internal explosions, accelerating gradually in two
stages: a preparation phase, from the beginning to the moment of lull, just before the storm,
suggested by the presence of cascade, and from here until the moment of climax, when through a
violent acceleration of the shots succession, the video evolves towards a parallel built between
beast and the man, ending with the revelation of the Olympic Games organized at RIO. The
composition follows classical principles such as the rule of thirds, central positioning of the
character or symmetry. The types of shots are varied and use classic but complex techniques.
The palette containing the positions and movements of the simulator that emulate the effect of
the camera is also extremely varied and complex, as outlined in Appendix 1. All these intend to
provide an overview but at the same time a detailed perspective of the atmosphere that will cover
the sports competition from RIO.

Shots Legend:

ANS./ Establishing Shot - plan ansamblu

GEN./ LS - Plan general/Long Shot
INT./ MLS - Plan intreg/Medium Long Shot
APR./ PA - Plan apropiat/Plan american
MIJL./ MS - Plan mijlociu, plan mediu/Medium Shot, Mid-Shot
PR.PL/CU - Prim Plan/Close-Up
GR.PL/BCU - Gross-plan/Big Close-up
DET/ECU - Plan detaliu/Extreme Close-Up
 Appendix 1:

Element Shot Type of Shot Length Camera Angle Camera

Imagery Number/ Camera (ss.ms) Position
Number of movement or
Different action
Shots Composition
Rule
JUNGLE/ 0_1 ANS./ 03.24 PLONJE Exterior,
AMBIANCE Establishing BIRD VIEW Above,
Shot Aerial Drone
Travelling
JUNGLE/ 0_2 GEN./ 02.50 RACCOURCI Interior,
AMBIANCE LS FROG VIEW Inside
Axis rotation Contraplonje
JUNGLE 0_3 GEN./ 00.49 RACCOURCI Interior to
SKY/ LS FROG VIEW Exterior
AMBIANCE POV Monkey
POV
JUNGLE 3 shots 07.37
TOTAL
1 type of 1_1 APR./ 02.04 NORMAL/ FRONT
animal: PA NEUTRAL
FELINE
1_2 INT./ 01.07 NORMAL/ Sideways,
FELINE MLS NEUTRAL 90 degree
Pull Focus
Depth
Staging
1_3 PR.PL/ 01.45 NORMAL/ Sideways,
CU NEUTRAL External
FELINE Opposite
Angle - Left
(Cf. Triangle
Principle)
1_4 PR.PL/ 01.07 RACCOURCI Sideways,
CU FROG VIEW Extreme
FELINE External
Opposite
Angle - Left
1_5 DET/ 00.57 PLONJE FRONT,
FELINE BCU RIDER External
VIEW Opposite
Angle - Left
1_6 INT./ 01.00 RACCOURCI BACK,
 MLS FROG VIEW External
FELINE Opposite
Angle - Right
FELINE 1_7 GR.PL./ 01.03 NORMAL/ FRONT
BCU NEUTRAL
1_8 INT./ 01.42 NORMAL/ FRONT,
MLS NEUTRAL External
FELINE Panning Opposite
Angle - Left
to Right
FELINE 1_9 GEN./ 01.10 PLONJE Above from
LS BIRD VIEW the tree
Panning
FELINE 1_10 APR./ 00.53 NORMAL/ Sideways,
PA NEUTRAL 90 degree
Centered,
Tracking Shot
Dark Voyeur
Whip Pan,
Whip Cut
1_10 APR./ 00.49 NORMAL/ Sideways,
FELINE Same shot PA NEUTRAL 90 degree
repeated Centered,
Tracking Shot
Dark Voyeur
Whip Pan,
Whip Cut
1_11 APR./ 02.07 PLONJE Sideways,
FELINE PA RIDER External
Panning VIEW Opposite
Angle - Right
FELINE 11 shots 15.44 aprox. Collective
TOTAL 16 s play
2 type of 2_1 DET. 01:04 NORMAL/ FRONT
Animal: ECU, NEUTRAL
CROCODILE Centered
2_2 INT./ 02:42 RACCOURCI Sideways,
MLS FROG VIEW 90 degree
CROCODILE Pull Focus
Depth
Staging
2_3 MIJL./ 01.04 NORMAL FRONT
CROCODILE MS, TO
Centered, Contraplonje
Vertical Tilt
2_4 PR.PL/ 01.11 NORMAL/ Sideways,
 CU NEUTRAL External
CROCODILE Pull Back Opposite
Retraction Angle - Right
2_5 INT./ 01.56 NORMAL/ FRONT
CROCODILE MLS, NEUTRAL
Rule of
Thirds
Symmetry
Pull Back
Retraction
CROCODILE 2_6 ANS./ 00.58 NORMAL/ Sideways,
Establishing NEUTRAL 90 degree
Shot
CROCODILE 2_7 INT./ 02.46 NORMAL/ Sideways,
MLS NEUTRAL External
To Opposite
INT./ Angle - Right
MLS
Pull Back
Retraction
CROCODILE 2_8 INT./ 01.08 NORMAL/ FRONT
MLS NEUTRAL
Rule of
Thirds
Symmetry
Tracking Shot
Vertical
CROCODILE 8 shots 12.49 Collective
TOTAL play
3 type of 3_1 GR.PL/ 00.53 PLONJE FRONT,
Animal: BCU, RIDER External
??? Centered VIEW Opposite
Angle - Left
Animal 3 3_2 INT./ 01.52 NORMAL/ BACK
MLS NEUTRAL
Centered,
Dark Voyeur
Animal 3 3_3 INT./ 01.10 NORMAL/ FRONT
MLS NEUTRAL
Pull Back
Retraction
Animal 3 3_4 PR.PL/ 00.50 NORMAL/ FRONT
CU, NEUTRAL
Centered

Animal 3 3_5 MIJL./ 01.01 CONTRA - FRONT,

 MS PLONJE External
STOMACH Opposite
VIEW Angle - Right
Animal 3 5 shots 05.46
TOTAL
4 type of 4_1 INT./ 01.55 NORMAL/ BACK
Animal: MLS NEUTRAL
MONKEY Dark Voyeur
Rule Of
Thirds, Right

4_2 INT./ 02.09 CONTRA - FRONT,

MLS PLONJE External
MONKEY Dark Voyeur Opposite
Rule Of Angle - Right
Thirds, Right
4_3 INT./ 01.00 NORMAL/ FRONT
MLS NEUTRAL Internal
MONKEY Dark Voyeur Opposite
Rule Of Angle - Right
Thirds, Right
MONKEY 4_4 INT./ 00.48 NORMAL/ FRONT,
MLS NEUTRAL External
Dark Voyeur Opposite
Angle - Right
4_5 GEN./ 02.06 NORMAL/ FRONT
MONKEY LS NEUTRAL
Depth
Staging
4_6 PR.PL/ 00.50 NORMAL/ FRONT
MONKEY CU NEUTRAL
Centered
4_7 INT./ 00.22 PLONJE Above,
MONKEY MLS BIRD VIEW Aerial
Rule Of
Thirds, Right
MONKEY 4_8 DET/ 00.02 CONTRA Below
BCU PLONJE
Rule Of FROG VIEW
Thirds, Left
4_9 PR.PL/ 00.14 CONTRA FRONT,
MONKEY CU PLONJE External
2 Elements, FROG VIEW Opposite
Symmetric/ Angle - Left
Diagonal
4_10 INT./ 01.04 PLONJE Above
 MLS BIRD VIEW Aerial
MONKEY 2 Elements,
Symmetric/
Diagonal
4_11 PR.PL/ 00.48 NORMAL/ FRONT
MONKEY CU NEUTRAL Internal
Opposite
Angle - Left
MONKEY 4_12 GEN./ 00.51 CONTRA FRONT
LS PLONJE External
Depth FROG VIEW Opposite
Staging Angle - Right
MONKEY 12 Shots 11.09 Collective
TOTAL play
5 type of 5_1 INT./ 03.05 NORMAL/ Sideways
Animal: MLS NEUTRAL
???? Centered,
Dark Voyeur
5_2 PR.PL/ 01.08 PLONJE Sideways
Animal 5 CU, RIDER
Centered VIEW

5_3 MIJL./ 01.46 CONTRA FRONT

Animal 5 MS PLONJE
STOMACH
VIEW
5_4 INT./ 02.01 PLONJE Above
MLS BIRD VIEW Aerial
Animal 5 Centered,
Pull Back
Reveal
5_5 APR./ 00.52 RACCOURCI
Animal 5 PA
Axis rotation

Animal 5 5_6 MIJL./ 00.54 NORMAL/

MS NEUTRAL
Axis rotation

Animal 5 5_7 INT./ 00.17 NORMAL/ FRONT

MLS NEUTRAL
Centered,
Pull Back
Retraction
Animal 5 7 Shots 10.03
TOTAL
6 type of 6_1 GEN./ 01.51 RACCOURCI FRONT
Animal: LS FROG VIEW
???? Centered,
Symmetric
Travelling
Forward
Dark Voyeur
6_2 PR.PL/ 01.58 NORMAL/ FRONT
CU NEUTRAL
Animal 6 Centered,
Symmetric

6_3 INT./ 01.11 NORMAL/ FRONT

Animal 6 MLS NEUTRAL External
Opposite
Angle - Right
6_4 GEN./ 00.43 NORMAL/ FRONT
Animal 6 LS NEUTRAL External
Rule Of Opposite
Thirds, Left Angle - Left

6_5 INT./ 01.09 BIRD VIEW Above

Animal 6 MLS, Aerial
Centered

Animal 6 6_6 INT./ 00.10 NORMAL/ FRONT

MLS, NEUTRAL
Centered

Animal 6 6 shots 07.22

TOTAL
7 type of 7_1 INT./ 01.02 NORMAL FRONT
Animal: MLS, to To
FOX Centered RACCOURCI BELOW
Travelling
Forward
Dark Voyeur
7_2 INT./ 00.55 RACCOURCI FRONT,
FOX MLS, External
Centered Opposite
Angle - Right
FOX 7_2 INT./ 00.48 RACCOURCI FRONT,
Almost MLS, External
Same shot Centered Opposite
repeated Angle - Right
FOX 2 shots 02.45
TOTAL
PEOPLE 8_1 INT./ 00.49 NORMAL/ Sideways
MLS, NEUTRAL 90 degree
Centered,
Tracking Shot
Dark Voyeur
Whip Pan,
Whip Cut
PEOPLE 8_1 INT./ 00.48 NORMAL/ Sideways
MLS, NEUTRAL 90 degree
Same shot Centered,
repeated Tracking Shot
Dark Voyeur
Whip Pan,
Whip Cut
PEOPLE 8_2 INT./ 00.54 NORMAL/ FRONT
MLS, NEUTRAL
Centered

PEOPLE 8_3 PR.PL/ 01.24 NORMAL/ Sideways

CU NEUTRAL 90 degree
Centered,
Tracking Shot

PEOPLE && 8_4 ANS./ 07.29 NORMAL BACK

CITY Establishing To To
Shot PLONJE ABOVE
Depth
Staging
Crane Up

PEOPLE 4 shots 11.24

TOTAL

Appendix 2:

Dark Voyeur:
Fig.1 4_3 Fig.2 5_1

Fig. 3 3_2 Fig.4 7_1

Fig. 5 4_1 Fig. 6 4_3

Fig. 7 6_1 Fig.8 1_10

Depth Staging:
Fig. 9 4_5 Fig.10 4_12

Fig. 11 8_4 Fig. 12 2_2

Fig. 13 1_3 Fig. 14 1_4

Fig. 15 5_3 Fig. 16 3_5

Fig. 17 1_9 Fig.19 6_5

Fig.20 6_1 Fig. 21 1_8

Fig. 22 2_3 Fig. 23 0_1

Fig. 24 5_4 Fig. 25 5_7

Fig. 26 2_5
Bibliography
A. Documents
1. Denumirea incadraturilor: unghiurile de vedere si perspectiva. Bucuresti, Colegiul Tehnic "Gh.
Asachi". Bucuresti : http://www.ct-
asachi.ro/e107_files/downloads/productie%20media/Incadraturi%20unghiuri%20perspectiva.pdf.

B. Articles
1. Eisenstein's Film Theory of montage and architecture. Tod, Jeffrey M. 1989. s.l. : Georgia Institute of
Technology, 1989.

C. Books
1. Arijon, Daniel. 2013. Gramatica filmului. s.l. : Oscar Print, 2013. 978-973-668-353.

2. Baltatu, V.I. 1967. Cartea Cineastului Amator. Bucuresti : Editura Tineretului, 1967.

3. Peterson, Bryan F. 2003. Learning to see creatively. s.l. : Amphoto Press, 2003. ISBN 0-8174-4181-6.

4. Vineyard, Jeremy. January 2000. Great Camera Moves Every Filmmaker Should Know. Los Angeles :
Michael Wiese Production, January 2000. 0-941188-74-4.

5. Pudovkin, Vsevolod. 1955 Despre Arta filmului.. Bucuresti : Editura Cartea Rusa, 1955.

D. Other sources:

Pudovkin's 5 Editing Techniques. Richards, Evan. 2013. s.l. : https://vimeo.com/76513972, 2013.

Soviet Montage: Crash Course Film History. Craig. s.l. : https://www.youtube.com/watch?v=-

RtBAa4YCgo.

The History of Cutting - The Soviet Theory of Montage. IQ, Filmmaker. 2014. s.l. :
https://www.youtube.com/watch?v=JYedfenQ_Mw, 2014.