There are two perspectives to understand and implement a process of signification cinematic treat the cinema as a representation of reality in respect of its inherent ambiguity in respect of the interpretation or subjective (and relative) of it that the subject define, or understand the film not as a simple reproduction of reality, but as an interpretation of its processes, so as to build in advance a sense of what is portrayed on the screen, in a report to the more coercive towards the viewer. So the former is possible, with appropriate forms of expression, the autonomy of the person to leave the production of sense of reality, whereas in the second, to establish the assembly as a tool suitable for re-interpretation of reality, giving centrality to the dialectic of images and production of meaning that was previously intended to achieve.
You could then define the internal assembly as a technique for non-fitting, where the representation of reality is in accordance with its essential characteristics, or in respect of the photographic space-time continuum, in fact any event must have a specific position in priori, the goal is to capture filmically the inherent ambiguity of reality.
tools which offers a view of nature are the real depth of field and the plane sequence: the PS is a plan that only performs the functions of a sequence or scene (mobile forms) with P.di C. is realized, however, the arrangement of objects and characters on different levels and with their mutual interaction (static content).
Assembly connotative arises, however, on variables such as establishment of audio-visual sense. This is done through an interpretation of the meaning of reality, reality is not as mechanical phenomena, but interpretation of the articulation of its internal relations; fitting as the production of meaning, as the collision of shots and planes (side by side, against each other), as well as assembly relationship / conflict between floors, as a conflict within the same compositional shot, the production of meaning even in the setting up of audio-visual relations.
Ultimately, assembly dialectic (or connotation) is an assembly that is structured on the basis of a conflict, which by all its evidence and whose main purpose is that of signification. For the conflict
S. Eisenstein composition within the frame is somewhat of a nucleus, a cell assembly, which is governed by the law division with the increased tension of the conflict. The assembly is a quantum leap of the internal composition of the shot.
The attraction for us is any fact presented, published and checked, intended as a pulse that has a certain effect on attention and emotion of the viewer in a certain direction, indicated by the end of the show is being made. From this viewpoint, the film can not be limited simply to show, presentation, ie, of certain events: it must be rather a biased selection of events, free of duties strictly narrative, such a modeling exercise on the public in accordance with psychological the aim pursued.
On the other hand, the opposite could be said, you can choose to support the documentary, as an expression of reality in its causal factors and inevitable. In this sense, the film wants to provoke an interest in the viewer without artifice or re-construction "Baroque", in a way simply "sincere". For
Joris Ivens - one of the most important documentary film history, perhaps - is the "here and now" what defines a litmus test of the sensitivity of the filmmaker. The camera fixes the moment, and no other devices.
Yet, not only this. The filmmaker should always bear in mind what has to serve the movie you are doing, why and for what result is achieved. So symbolically it is claimed that the filmmaker must have three eyes: one eye looks at reality through the viewfinder of the camera, while the other remains wide open to everything going on around the small image contained in the frame. A third eye, so to speak, must face the future.
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