Movement across frames

Where there is no character or object movement across frames, but a shot sequence is produced by editing, then it is extremely common to conceal an edit in classical cinema by cutting on action. This is where the editor, for instance, will cut on a character's movement (such as lifting a cup) and the common movement of the character in each shot is used to help conceal, and smooth, the edit.

In The Searchers the movement of Aaron to open the homestead door for the "reverend" is used to motivate the change in point of view.

Adrian Miles: Hypertext syntagmas: cinematic narration with links

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See that post with different algorithms in metabole

See the journal French Metablog with today different posts

Rules of movement

To aid in the seamlessness of editing a sequence of action together several basic rules of movement, frame entry, and frame exiting, were developed by classical Hollywood cinema.

Where a moving body exits a frame, and the next shot is to show them again, then the following conditions are to be followed:

where a figure has left the frame in shot A, they can be shown already present in shot B.
where a figure remains in shot A, they must enter frame during shot B.

These rules only apply to those shot sequences where a character, or other moving object, is to be shown moving across the sequence produced by the edit, where there is to be a change of shot but no movement across the frame, movement is regularly co-opted to motivate the edit.
Such rules of movement can be seen in Written on the Wind, though it helps if you use the movie controller. Where this is not followed a jump cut results, and while uncommon prior to the French New Wave film movement of the 1960s, it, like crossing the line, does not appear to significantly compromise intelligibility.

Adrian Miles: Hypertext syntagmas: cinematic narration with links A performative hypertext presented by Journal of Digital Information

Download ebooks on http://www.frenchtheory.com/
See that post with different algorithms in metabole
See the journal French Metablog with today different posts

Enframing is the point

As Derrida points out, the frame is also part of the picture (despite Kant's best efforts to the contrary).

At the gigantic, uncanny scale of the internet, electronic communication initiates countless points and movements, sliding over the representational scenery without being reduced to the sequence of its particularity. Still, electronic communication still has to sweep along all the bad old functions of metaphysical thinking for local uses. The pervasive proximity of electronic communication races beyond any phenomenology of things or texts. It is not even a matter of forms and contents - that fine old Platonic division - since internet-as-Enframing remains indifferent to what it transmits or represents, operating only according to what it could transmit or represent, which is everything and nothing. The most potent device of Enframing is literally the frame: the gesture of bracketing which makes something seen at the expense of everything else (G.Bennington).

Download ebooks on http://www.frenchtheory.com/
See that post with different algorithms in metabole
See the journal French Metablog with today different posts