Découpage

Sequence 12

Storm

422/427 – Waves /
428/431 – Waves with rock /
432 – Waves /
433/438 – Waves with rock /
439/443 – Water /
444 – Water /
445/446 – Waves /
447 – Water /
448/449 – Waves /
450 – Waves with rock /
451/453 – Waves /
454 – Water /
455 – Waves /
456 – Water /
457 – Waves with rock /
458/459 – Water /
460/461 – Waves /
462 – Water /
463/471 – Waves /
472 – Water /
473 – Waves /
474 – Water /
475 – Waves /
476 – Water /
477 – Waves /
478/482 – Water /
483/484 – Waves /
485 – Waves with rock /
486/488 – Water /
489 – Waves with rock /
490/491 – Water /
492 – Water /
493/497 – Water /
498/507 – Waves /
Fusion.

With a fusion the storm long seq. is opened. Pereira de Melo has identified in this sequence the repetition of seven frames. In the beginning, the water movements are pulsing, respiratory, since they are always faster up to the rigorous succession of short and abstract shots. The succession of different shots and their repetition or yet the passage of a more diluted rhythm to a more concentrated rhythm, resemble the seq. of the cinema (see [153-192]) and the one of the run to the cemetery [266-280]). On the irruption of the waves, framed from top, a circular chain of movements is identified: reflux-advance of the wave meeting with the other wave failure to meet (turbulence) stillness reflux. These movements may follow several directions, but have always the same dynamic structure. The shots may depart from any phase of the chain and may not necessarily present all of them. To a first series of waves failing to meet [422-428] there follows a series of waves that fail to meet with reeves framed from top and sideways ([427-428] and afterwards [450, 457, 485 e 492]), which are often repeated identically more times later. The third series consists of the water running, in the sprinkling, in the turbulence and in the rest without the presence of the movement of waves [439-442, 444, 447, 454, 456, 458-459, 462, 472, 474, 476, 478, 483-484, 486-88, 490-491, 493-497]. The series of waves prevails sometimes distinguishing the foam or the wave broken phenomenon. Even in relation to the storm functions in Limite and in “Sunrise”, Heffner, when noticing the essence of hope that follows the storm in the Brazilian film, defines it as anti-“Sunrise”. Finally, also in “The Man of Aran”, of 1933, by Robert Flaherty, the man does not succumb to the storm. Fusion.