This dictionary entry is divided into three parts: 1) The term 2) The form 3) The theory. The first part reconstructs the birth of the term sequence-shot, coined by André Bazin, together with its particular concept inseparable from depth of field shooting; then it addresses the subsequent semantic modifications that occurred in the 1960s with the advent of semiology and the contribution of Christian Metz. The second part focuses specifically on the form of the sequence-shot. Finally, the third part reflects on the theoretical production originating from the reflections on the sequence shot, in particular by Bazin and Metz, but also by Pier Paolo Pasolini, all of whics can be traced back to a common aspect: restoring the complexity of vision on the screen.
DAGRADA E (2004). Piano-sequenza. ROMA : Istituto della Enciclopedia Italiana Treccani.
Piano-sequenza
DAGRADA E
2004
Abstract
This dictionary entry is divided into three parts: 1) The term 2) The form 3) The theory. The first part reconstructs the birth of the term sequence-shot, coined by André Bazin, together with its particular concept inseparable from depth of field shooting; then it addresses the subsequent semantic modifications that occurred in the 1960s with the advent of semiology and the contribution of Christian Metz. The second part focuses specifically on the form of the sequence-shot. Finally, the third part reflects on the theoretical production originating from the reflections on the sequence shot, in particular by Bazin and Metz, but also by Pier Paolo Pasolini, all of whics can be traced back to a common aspect: restoring the complexity of vision on the screen.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
