Движение есть жизнь.
“Let’s say you’re filming a shot outdoors and a bird flies into the camera’s field of vision and out the other side. Suddenly, a completely accidental event is in your movie. Do you keep it? Do you use that shot, or do you film another one? Your film is going to be slightly different whichever take you choose. (A take is a single recording of a shot. If the director doesn’t like something that occurs in Take 1, she may run the shot again by calling out “Take 2” – and again and again – “Take 22” – “Take 35” – “Take 59” – until she is ready to call “print!”) If you’re making the kind of film in which everything is formally strict and controlled, then you probably don’t want the bird. If however you’re trying to capture a kind of random and unpredictable quality, then your little bird accident is perfect. When film students discuss your work, they’ll be talking about the bird – the significance of random events of nature, perhaps even the symbolism of flight. That bird is now part of your film’s mise-en-scene, and it’s expressing something – whether you want it to or not. Whether critics or audiences at the multiplex specifically notice it or not, it’s there. It’s a part of the art work. It’s in the film, and therefore it has expressive meaning.”
— Sikov, Ed. Film Studies: An Introduction.
— Sikov, Ed. Film Studies: An Introduction.