Dramatic discovery cutting on motion

This sense of punctuation via editing is even more compelling in a brief sequence in Spellbound. John Ballantine (Gregory Peck) has forgotten his past because of a trauma. He is accused of posing as a psychiatrist and of killing the man he is pretending to be. A real psychiatrist (Ingrid Bergman) loves him and works to cure him. She has discovered that he is afraid of black lines across a background of white. Working with his dream, she is convinced that he was with the real psychiatrist who died in a skiing accident. She takes her patient back to the ski slopes where he can relive the traumatic event, and he does. As they ski down the slopes, the camera follows behind them as they approach a precipice. The camera cuts closer to Ballantine and then to a close-up as the moment of revelation is acknowledged. The film cuts to a young boy sliding down an exterior stoop. At the base of the stoop sits his younger brother. When the boy collides with his brother, the young child is propelled onto the lattice of a surrounding fence and is killed. In a simple cut, from motion to motion, Hitchcock cut from present to past, and the continuity of visual motion and dramatic revelation provides a startling moment of discovery.

Film Making

Film Making

If you have ever wanted the secrets to making your own film, here it is: Indy Film Insider Tips And Basics To Film Making. Have you ever wanted to make your own film? Is there a story you want to tell? You might even think that this is impossible. Studios make films, not the little guy. This is probably what you tell yourself. Do you watch films with more than a casual eye? You probably want to know how they were able to get perfect lighting in your favorite scene, or how to write a professional screenplay.

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