Spatial Rhythms in Cinema between the Avant-Garde and Entertainment

Gian Piero Brunetta
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Gian Piero Brunetta: University of Padova, Dipartimento di Discipline Linguistiche Comunicative e dello Spettacolo — Palazzo Maldura

A chapter in Imagine Math 2, 2013, pp 69-81 from Springer

Abstract: Abstract I think that the essence of cinema is defined by the rhythm with which the images follow one another and, as a rational and Cartesian thinker, I consider number to be the basis of everything, of art and of nature. The rhythm of film editing of Film no. 4, for example, was based on the Fibonacci numerical scale. Now unfortunately some of the frames are missing and their exact calculation does not exist anymore […] It isn’t a technique that I invented, because it was also used in Battleship Potemkin; in that film as well, all of the editing was constructed according to the Fibonacci scale. I used this method, which I have always used in my painting.

Keywords: Geometric Figure; Experimental Cinema; Visual Rhythm; Musical Rhythm; Movie Camera (search for similar items in EconPapers)
Date: 2013
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Persistent link: https://EconPapers.repec.org/RePEc:spr:sprchp:978-88-470-2889-0_9

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DOI: 10.1007/978-88-470-2889-0_9

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