Kracauer, S 1997, ‘Inherent affinities: the indeterminate’, Theory of Film: The Redemption of Physical Reality, Princeton University Press, Princeton, pp. 68-70

One thought on “Kracauer, S 1997, ‘Inherent affinities: the indeterminate’, Theory of Film: The Redemption of Physical Reality, Princeton University Press, Princeton, pp. 68-70

  1. There are two parts of this article: psychophysical correspondences, and a basic editing principle. For the first part, it mentions that natural images have different meanings, they can easily trigger a variety of moods, emotions and inner thoughts and activities. In other words, they have an infinite number of psychological and spiritual correspondences in theory. A shot is considered to be a shot only when it retains raw material with its various meaning or fits with what Lucien Seve calls the ‘anonymous state of reality’. For the basics of editing, any narrative filmmaker must perform two tasks that seem to be incompatible at the same time. On the one hand, he must gives every shot a meaning related to the plot, so as to develop the story. On the other hand, the filmmaker wants to demonstrate and penetrate physical reality.
    This article provides me a new concept of psychophysical correspondences, which makes me think about editing from another way. And the basics of editing mentioned in the article are also helpful to my research.

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