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If one selects the cause of their [inserts as autonomous segments] interpolative nature as a principal of classification, one will notice that up to now there have been only four types of insert in the cinema: the nondiegetic insert (i.e., image having a purely comparative function; showing an object which is external to the action of the film); the subjective insert (i.e., image conveying not the present instance, but an absent moment experienced by the hero of the film. Examples: images of memory, dream, fear, premonition, etc.); the displaced diegetic insert (an image that, while remaining entirely "real," is displaced from its normal filmic position and is purposely intruded into a foreign syntagma. Example: Within a sequence showing the pursuers, a single shot of the pursued is inserted); and, finally, the explanatory insert (the enlarged detail, in a magnifying-glass effect. The detail is removed from its empirical space and is presented in the abstract space of a mental operation. Example; close-up of a visiting card or letter). (Metz, p. 125.)
Adrian Miles: Hypertext syntagmas: cinematic narration with links
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