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Hypertext syntagmas: cinematic narration with links
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The Searchers, 1956. John Ford.

Note here how the movement of Aaron in moving to, and opening, the door provides the 'rationale' for the edit. This cutting on action is done to make the edit unnoticeable, the continuity of movement by an object of attention draws attention away from the cut, and we all assume that the film cuts now so that we can see what the character is doing - which is of course only one way to think of why the film cuts now, for instance the camera could have as easily physically moved or even have stayed where it was.

Adrian Miles: Hypertext syntagmas: cinematic narration with links
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