Long take
A long take is an uninterrupted shot in a film which lasts much longer than the conventional editing pace either of the film itself or of films in general, usually lasting several minutes. It can be used for dramatic and narrative effect if done properly, and in moving shots is often accomplished through the use of a dolly or Steadicam.
The term "long take" is used because it avoids the ambiguous meanings of "long shot", which can refer to the framing of a shot, and "long cut", which can refer to either a whole version of a film or the general editing pacing of the film. However, these two terms are sometimes used interchangeably with "long take".
When filming Rope (1948), Alfred Hitchcock intended for the film to have the effect of one long continuous take, but the cameras available could hold no more than 1000 feet of 35 mm film. As a result, each take used up to a whole roll of film and lasts up to 10 minutes. Many takes end with a dolly shot to a featureless surface (such as the back of a character's jacket), with the following take beginning at the same point by zooming out. The entire film consists of only 11 shots.[1] (For a complete analysis of Hitchcock's hidden and conventional cuts in Rope, see David Bordwell's text "Poetics of Cinema" 2008.)
The length of a take was originally limited to how much film a camera could hold, but the advent of digital high definition has considerably lengthened the maximum length of a take. At least four theatrically-released feature films, Timecode, Russian Ark, PVC-1 and Nokta (Dot) are filmed in one single take; others are composed entirely from a series of long takes, while many more may be well-known for one or two specific long takes within otherwise more conventionally edited films.
Sequence shot
A sequence shot involves both a long take and sophisticated camera movement; it is sometimes called by the French term plan-séquence. The use of the sequence shot allows for realistic and dramatically significant background and middle ground activity. Actors range about the set transacting their business while the camera shifts focus from one plane of depth to another and back again. Significant off-frame action is often followed with a moving camera, characteristically through a series of pans within a single continuous shot. An example of this is the first scene in the jury room of 12 Angry Men, where the jurors are getting settled into the room.
Average shot length
Films can be quantitatively analyzed using the "ASL" (average shot length), a statistical measurement which divides the total length of the film by the number of shots. For example, Bela Tarr's film Werckmeister Harmonies is 149 minutes long, and made up of 39 shots.[2] Thus its ASL is 223.7 seconds.
The ASL is a relatively recent metric, devised by film scholar Barry Salt in the 1970s as a method of statistically analyzing the editorial patterns both within films and across groupings of them. Noted practitioners of ASL studies include David Bordwell and Yuri Tsivian. Tsivian used the ASL as a tool for analysis of D. W. Griffith's Intolerance (ASL 5.9 seconds) in a 2005 article.[3] Tsivian helped launch a website called Cinemetrics, where visitors can measure, record, and read ASL statistics.
Directors known for long takes
- Chantal Akerman[4]
- Robert Altman[5]
- Paul Thomas Anderson[5]
- Michelangelo Antonioni[5]
- Alfonso Cuaron[5]
- Brian DePalma[5]
- Carl Theodor Dreyer[6] in his sound films
- Bruno Dumont[7]
- Michael Haneke[8]
- Hou Hsiao-Hsien[9]
- Alfred Hitchcock
- Miklos Jancso[10]
- Jia Zhangke[11]
- Mikhail Kalatozov[5]
- Kenji Mizoguchi
- Max Ophüls[12]
- Jean Renoir[13]
- Jacques Rivette[14]
- Martin Scorsese [5]
- Andrei Tarkovsky[15]
- Béla Tarr[16]
- Rob Tregenza[17]
- Tsai Ming-Liang[18]
- Orson Welles[5]
- Joe Wright[5]
See also
Notes
- ^ Miller, D. A. "Anal Rope" in Inside/Out: Lesbian Theories, Gay Theories, pp. 119-172. Routledge, 1991. ISBN 04-1590-237-1
- ^ RogerEbert.com : Great Movies: Werckmeister Harmonies
- ^ Yuri Tsivian, in The Griffith Project: Vol. 9: Films Produced in 1916-1918, Paolo Cherchi Usai (ed.), text at Cinemetrics.
- ^ Chantal Akerman
- ^ a b c d e f g h i Coyle, Jake (2007-12-29). "'Atonement' brings the long tracking shot back into focus". Boston Globe. Retrieved 2007-12-29.
- ^ Carl Theodor Dreyer
- ^ Senses of Cinema: Bruno Dumont's Bodies
- ^ Senses of Cinema: Michael Haneke
- ^ Hou Hsiao-Hsien: Long Take and Neorealism
- ^ Silent Witness
- ^ Senses of Cinema: Jia Zhangke
- ^ Camera Movement and the Long Take
- ^ Colliding with history in La Bete Humaine: Reading Renoir's Cinecriture
- ^ An Elusive All-Day Film and the Bug-Eyed Few Who Have Seen It
- ^ Senses of Cinema: Andrei Tarkovsky
- ^ Strictly Film School: Béla Tarr
- ^ Rob Tregenza Interview
- ^ Senses of Cinema: Tsai Ming-Liang
References
- A History of Narrative Film by David Cook (ISBN 0-393-97868-0)