The Phantom Carriage
Drawing on the evidence provided by a sequence notation, show how editing functions narratively and expressively in one sequence from either Broken Blossoms (1919) or The Phantom Carriage (1921) and comment on the ways in which this differs from The Great Train Robbery (1903).
The Great Train Robbery and The Phantom Carriage are both considered as one of the key creative movies ever made in history. The Phantom Carriage was very well known for showcasing it’s advanced narrative construction with flashbacks within flashbacks. The Phantom Carriage would have had technological advantages over The Great Train Robbery since it was made eighteen years after. Hence, both their editing methods are substantially different. Having made a notation on …show more content…
We then see the man quickly running up the stairs in the continuing movement from the previous frame. The vignette effect made it seem like someone was observing the man’s actions through a keyhole or peep hole from another room. We are then shown the man’s attempt in trying to get into the room using various eye-line matches between him and the doormat. The vignette effect still makes it seem like it was from a person’s point of view, as the effect disappears as soon the camera position changes in the next cut. The next cut is a reverse angle shot that follows the 180-degree rule of the man walking into the room with the continuing movement from the previous shot. Perfect continuity plays a crucial part here as from the moment he got up from the stairs to where he got in to the room; all the cuts were perfectly matched with his movements. In contrast, there were no eye line matches or point of view shots in The Great Train Robbery. Most of The Great Train Robbery’s frames seemed like a theatrical stage where the actors entered in from either sides and left through those sides.
When the next cut is made, the vignette effect disappears denoting that the other vignette shots were definitely from someone’s point of view. We then see the character walk into the room through a door. The camera is placed facing the door towards the left of the frame making sure that both the doors are in the frame. As the character walks in, the camera pans to the right to include the door on the right in the frame. At this point, we are able to see all the three doors in the
The Great Train Robbery and The Phantom Carriage are both considered as one of the key creative movies ever made in history. The Phantom Carriage was very well known for showcasing it’s advanced narrative construction with flashbacks within flashbacks. The Phantom Carriage would have had technological advantages over The Great Train Robbery since it was made eighteen years after. Hence, both their editing methods are substantially different. Having made a notation on …show more content…
We then see the man quickly running up the stairs in the continuing movement from the previous frame. The vignette effect made it seem like someone was observing the man’s actions through a keyhole or peep hole from another room. We are then shown the man’s attempt in trying to get into the room using various eye-line matches between him and the doormat. The vignette effect still makes it seem like it was from a person’s point of view, as the effect disappears as soon the camera position changes in the next cut. The next cut is a reverse angle shot that follows the 180-degree rule of the man walking into the room with the continuing movement from the previous shot. Perfect continuity plays a crucial part here as from the moment he got up from the stairs to where he got in to the room; all the cuts were perfectly matched with his movements. In contrast, there were no eye line matches or point of view shots in The Great Train Robbery. Most of The Great Train Robbery’s frames seemed like a theatrical stage where the actors entered in from either sides and left through those sides.
When the next cut is made, the vignette effect disappears denoting that the other vignette shots were definitely from someone’s point of view. We then see the character walk into the room through a door. The camera is placed facing the door towards the left of the frame making sure that both the doors are in the frame. As the character walks in, the camera pans to the right to include the door on the right in the frame. At this point, we are able to see all the three doors in the