Blog Post: Time Frames

The largest differentiator between film and comics, which McCloud goes over at great length is how time is perceived. In film, save from some exceptions, a ten second scene with no cuts in real life took ten seconds as well. It is a 1:1 ratio. The way we alter the perception of this time and lengthen and shorten and manipulate it is with cuts. Comics are very different in that…

October 2, 2019
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Time Manipulation

After reading McCloud’s Visual essay, I now understand how different shot to can depict a passage of time. For example, I can film a close up shot of a character speaking and then pondering for a space. Afterwards, I can film the character in a medium long shot to indicate that time has passed. I can even fade to different to (close, medium, and long) shot to specify that a…

September 17, 2019
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Blog 3 – Time Frames

McCloud starts off his visual essay “Time Frames” by pointing out that it’s a common misconception to think that each comic panel is a single point in time with moments in between the panels that create the sense of time and motion.  McCloud explains that comics are unique in that they integrate the space of the panel and the motion within the panel to manipulate the reader’s sense of time….

September 10, 2019
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Time Frames

Building blocks of cinematic storytelling: Framing (moving camera), Continuity Editing, Montage and Mise-en-scène Framing: distance from subject, angle, diagonal lines, foreground-middleground-background, depth, light/shadow, focus/unfocus, focal length, depth of field, rule of thirds, moving frame, duration Continuity Editing: extended cinematic space – screen movement + narrative momentum + viewer imagination – the motivated shot, screen direction, 180 degree rule, 30 degree rule, match on action, graphic match, eyeline match, POV Montage: juxtaposition…

May 17, 2016
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