Induction (film)
In film language, induction is a conclusion that the viewer draws from a sequence of images or scenes cut one after the other without this meaning being derived from the images themselves. Rather, it arises from the mental linkage of what has been seen to a meaningful context or, more precisely, a causal chain.
So z. For example, the sequence of close-ups of a knife, a hand and a screaming woman depict a murder, although he himself is not depicted, as in Alfred Hitchcock's Psycho . Hitchcock explained in an interview:
“Think of the power of film. Close-up James Stewart, Cut: Woman with a baby. Cut: James Stewart smiles. He is a nice man. Now, take out middle piece of film, change it with 'girl in a bikini'. Now he is a dirty old man. "
“Think about the power of film. Close-up of James Stewart, cut: a woman with a baby. Cut: James Stewart smiles. He is a nice man. Now take out the middle picture and replace it with that of a girl in a bikini. Now he's an old lecher. "
The first experiment on cinematic induction was the Kuleschow experiment . The Russian director Lev Vladimirovich Kuleschow showed that the editing is more important for the statement of a scene than the type of individual shots.
Kuleschow noted: “The essence of the film does not have to be sought within the boundaries of the filmed fragment, but in the concatenation of these fragments.” The term induction is also used by the theoretician Knut Hickethier , among others .
There are close references to the topic of conceptual induction .
Web links
Aspects of Film Montage - Introduction by Hans Beller
Individual evidence
- ↑ Hans Beller: Aspects of the film montage. Kind of an introduction. ( Memento of the original from September 8, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ See Beller, Hans (ed.): Handbuch der Filmmontage. TR-Verlagsunion, 1993, p. 20
