Scene changes by optical tricks: a new film language?[12:11 mon,30.June 2014 by Thomas Richter]
In the eyes of the American neuroscientist Sergei Gepshtein whose area of u200bu200bexpertise is the human perception, the vocabulary of film language is outdated. Gepshtein thinks that movies often myself do without cuts and instead other techniques could be used to realize Szenenuebergaenge or to direct the focus of attention of the viewer. A central role in his considerations is played by the so-called window of perception - it is the area in front of our eyes, we perceive, but is only part of the visual information that we receive. So we register about any movements that are too fast or too slow. The knowledge for these limitations of conscious perception can be used in order imperceptible Szenenuebergaenge a new way ofrealize. Another aspect is illustrated by optical deceptions, which are often caused by the determination of the perception apparatus to one of several possible interpretations of what is seen. Sorry, but there is no visual aids for Gepshteins ideas of a new language of film - for a demo clip is still no funding - and the new techniques are probably just as hard to imagine as it have not yet seen optical deceptions. In Speed u200bu200bRacer (2008), however, already alternative cutting techniques to be used, the not so invisible, however, are as Gepshtein it would be wish. Interesting sound Gepshteins ideas constructively to use the limitations of human perception and new visual languages u200bu200bto provide in any case - and
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