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Jumps in time in the suicide scene in "Old Boy" (spoilers) 02:53 Jumps in time in the suicide scene in "Old Boy" (spoilers)
From Old Boy (2003).
The revelation scene in the film Old Boy plays tricks with time and the use of "off-screen space" and the shot-reverse shot technique. Contributed by JUAN PABLO SARMIENTO
Submarine: expansión y compresión de tiempo con Voz en Off (comentario) 02:02 Submarine: expansión y compresión de tiempo con Voz en Off (comentario)
From Submarine (2010).
Clip de "Submarino" con voz en off explicativa de los distintos recursos de manipulación de tiempo en "Submarino". Contributed by JUAN PABLO SARMIENTO
4. Prisa o secuencia de montaje en Persépolis 01:16 4. Prisa o secuencia de montaje en Persépolis
From Persepolis (2007).
Compresión de tiempo en "Persépolis". Contributed by JUAN PABLO SARMIENTO
Parallel montage and flashback in Old Boy 05:26 Parallel montage and flashback in Old Boy
From Old Boy (2003).
These two types of editing are used successfully in this sequence to reveal important information to the audience. What formally appears to be one narrative line is in reality divided by jumps in time. Contributed by JUAN PABLO SARMIENTO
2.02 Foley y mezcla en secuencia de "The Birds" 07:32 2.02 Foley y mezcla en secuencia de "The Birds"
From The Birds (1963).
Secuencia de ataque a escuela de "Los Pájaros" Contributed by JUAN PABLO SARMIENTO
2.02 Animals, secuencia inicial 2.02 Animals, secuencia inicial
From Animals (2012).
Uso interesante de sonido y silencio en secuencias iniciales de Animals (2012) Contributed by JUAN PABLO SARMIENTO
2.02 Secuencia de fiesta familiar en Punch Drunk Love 01:15 2.02 Secuencia de fiesta familiar en Punch Drunk Love
From Punch Drunk Love (2002).
Uso de contrastes sonoros para crear efectos en Punch Drunk Love Contributed by JUAN PABLO SARMIENTO
Montage sequence in Populaire 03:54 Montage sequence in Populaire
From Populaire (2012).
This film was shot and edited mimicking and enhancing 1960s film conventions. As such, it contains the "obligatory montage sequence". Contributed by JUAN PABLO SARMIENTO
2.02 Secuencia de piano en Punch Drunk Love 01:22 2.02 Secuencia de piano en Punch Drunk Love
From Punch Drunk Love (2002).
Un choque y un piano nos hacen conscientes de un extraño universo sonoro en Punch Drunk Love. Contributed by JUAN PABLO SARMIENTO
Submarine: expansion and compression of time 02:07 Submarine: expansion and compression of time
From Submarine (2010).
This clip illustrates various devices that allow for expansion and compression of time. Ellipses, jump cuts, clips and camera movements accelerate and slow down the tempo in this segment of the film. Contributed by JUAN PABLO SARMIENTO
Jumps of time in 2001, A Space Odyssey 08:00 Jumps of time in 2001, A Space Odyssey
From 2001, A Space Odyssey (1968).
Besides being famous for the most violent jump in time in the history of film, the final sequence of Kubrick's 2001 uses the shot-reverse shot technique to play with violent and interesting jumps in time. Contributed by JUAN PABLO SARMIENTO
Use of music to create suspense and strangeness in Ausente (Absent) 05:26 Use of music to create suspense and strangeness in Ausente (Absent)
From Ausente (2011).
This is a clip of two sequences of the Argentinian art-house film "Ausente" where subtle music plays a key role in creating the sense of uneasiness that is prevalent in this film. Contributed by JUAN PABLO SARMIENTO
Importance of off-screen space in Lubitsch's "Angel" 02:57 Importance of off-screen space in Lubitsch's "Angel"
From Angel (1937).
In lovers' meeting scene, the character played by Greta Garbo tricks her lover from a happy ending by escaping. The key action is left off-screen, revealed through the sad eyes of a violet lady. Contributed by JUAN PABLO SARMIENTO
2.02 Secuencia final de Los Amantes del Círculo Polar 02:28 2.02 Secuencia final de Los Amantes del Círculo Polar
From Los Amantes del Círculo Polar (1998).
Uso del sonido, foley e imaginería extraña en filme de Julio Medem. Contributed by JUAN PABLO SARMIENTO
2.01 Rampo Noir, uso de silencio 06:48 2.01 Rampo Noir, uso de silencio
From Rampo Noir (2005).
Silencio y luego sonido progresivo usado para generar efecto de extrañamiento en Rampo Noir Contributed by JUAN PABLO SARMIENTO
Horror en Ju-On (The Grudge) 09:09 Horror en Ju-On (The Grudge)
From Ju-On (The Grudge) (2000).
Escenas que muestran algunos de los "ataques" en la película "Ju-On". Nótese la mezcla, y cómo algunos sonidos son asociados a situaciones para enfatizarlas y generar cierta predictibilidad que refuerza el suspenso en los momentos de ataque. Contributed by JUAN PABLO SARMIENTO
Broen (uso de fuera de campo) 01:16 Broen (uso de fuera de campo)
From Broen / Bron (2011).
Uso de sonido para denotar eventos que ocurren fuera de cuadro en Broen Contributed by JUAN PABLO SARMIENTO
Montge sequence of the Carl and Ellie relationship in "Up" 04:23 Montge sequence of the Carl and Ellie relationship in "Up"
From Up (2009).
This montage sequence shows how time and information can be compressed for emotional impact. Contributed by JUAN PABLO SARMIENTO
Realist and non-realist time in Old Boy 03:53 Realist and non-realist time in Old Boy
From Old Boy (2003).
Famous lateral fighting scene in Old Boy Contributed by JUAN PABLO SARMIENTO
Uso de silencio para generar horror en Kwaidan 05:35 Uso de silencio para generar horror en Kwaidan
From Kwaidan (1964).
Secuencia final de primera historia de Kwaidan, donde el samurai descubre que su esposa ha muerto y que él envejece a medida que sale de su antigua casa. El uso de pocos sonidos enfatiza la extrañeza del momento. Contributed by JUAN PABLO SARMIENTO
3.4. "Love is an open door": leit motiv in "Frozen" 02:05 3.4. "Love is an open door": leit motiv in "Frozen"
From Frozen (2014).
Leit motiv of the door in Frozen Contributed by JUAN PABLO SARMIENTO
2.01 Broen, S01, Uso del silencio 03:25 2.01 Broen, S01, Uso del silencio
From Broen / Bron (2011).
Uso de música y silencio de efectos especiales en Broen Contributed by JUAN PABLO SARMIENTO
2.01 All That Jazz, uso de mezcla y silencio 2.01 All That Jazz, uso de mezcla y silencio
From All That Jazz (1979).
Escena de la lectura de guión con sonido omitido. Contributed by JUAN PABLO SARMIENTO
Use of static shot in Nue Propieté 03:33 Use of static shot in Nue Propieté
From Nue Propieté (2006).
This clip shows how powerful a static camera can be in a dramatic moment. Playing against the emotional action, it emphasizes the drama and adds realism to the scene in this Belgian film. Contributed by JUAN PABLO SARMIENTO
The Verdict - encuentro con víctima 03:56 The Verdict - encuentro con víctima
From The Verdict (1982).
Uso de imagen dentro de imagen y lento despliegue para representar cambio en personaje. Contributed by JUAN PABLO SARMIENTO
Separation of Subjects in Hitchcock's The Birds 01:33 Separation of Subjects in Hitchcock's The Birds
From The Birds (1963).
This scene illustrates the principle of Point of View represented through the use of distance of the character from the lens, as is described by Stefan Sharff in Elements of Cinema (1982, Columbia University Press). Contributed by JUAN PABLO SARMIENTO
2.03 Foley en capítulo de serie "The Hour". 01:46 2.03 Foley en capítulo de serie "The Hour".
From The Hour (2011).
En los primeros días de la TV, el foley debía realizarse en vivo. Este clip ilustra esta práctica, y nos abre a la importancia del sonido en el audiovidual. Contributed by JUAN PABLO SARMIENTO
Singing in the Rain Karaoke scene 03:06 Singing in the Rain Karaoke scene
From Singing in the Rain (1952).
This scene in the musical classic highlights ADR (additional dialogue recording). The irritating starlet cannot sing, so her "fake voice" does the job. The scene mocks this prevalent practice within musical films. Contributed by JUAN PABLO SARMIENTO
Separación en Piscosis de A. Hitchcock 03:09 Separación en Piscosis de A. Hitchcock
From Psycho (1962).
Ejemplo del uso de separación según Sharff en A. Hitchcock Contributed by JUAN PABLO SARMIENTO
Montaje Paralelo en "Cabaret" 02:24 Montaje Paralelo en "Cabaret"
From Cabaret (1972).
Uso de montaje paralelo para marcar inflección política en "Cabaret" Contributed by JUAN PABLO SARMIENTO
Club Silencio scene from Mulholland Drive 08:49 Club Silencio scene from Mulholland Drive
From Mulholland Drive (2001).
This famous sequence from the David Lynch film rests upon the "fakeness" of film sound to achieve a powerful effect. The idea of mirrors and karaoke is a prevalent theme in the film. Contributed by JUAN PABLO SARMIENTO