The Art of Rearrangement: Touch of Evil’s Second Long Take and the Aesthetic of Fluidity
Presentation
Overview
Overview
Description
Contrary to common opinion, long takes are no more “realistic,” “immersive,” “absorbing,” or “continuous” than scenes with cuts. Their primary aesthetic value, if any, lies in the transitions between different camera positions relative to mise-en-scène elements. We should think of mobile long takes as a type of transitional device: Whereas cuts present camera set-ups as a series of discrete stagings, long takes with camera and character movement enable spectators to observe one set-up rearrange into another.
