Not Signed-In
Which clippings match 'Intra-frame' keyword pg.1 of 1
04 MARCH 2014

Norman Kirk split-screen political ad for 1969 NZ general election

"This 1969 advertisement for the Labour Party emphasised the leadership qualities of Norman Kirk and sought to capitalise on a public mood for change as that turbulent decade drew to a close. It screened in full colour in cinemas and in black–and–white on television (colour TV wasn't introduced until 1973). Its striking split–screen imagery and pop–styled theme song were clearly aimed at younger voters, a potentially important audience in an election when the voting age was lowered from 21 to 20 (it would be reduced further, to 18, in 1974). It was not enough, however, to oust Keith Holyoake's National government, which had ruled for the previous nine years."

TAGS

1969advertisementAotearoa New Zealand • campaign advertising • cinematic techniqueColenso BBDO • dancing Cossacks (political TV ad) • film techniquegeneral electionintra-frame • Keith Holyoake • Labour governmentLabour Party • mood for change • National (political party) • Norman Kirk • optical printing • political advertising • Prime MinisterRobert Muldoonsplit-screenThomas Crown Affair (1968) • turbulent decade • TV commercial

CONTRIBUTOR

Simon Perkins
25 OCTOBER 2009

Aesthetics of Displays: how the split screen remediates other media

"Pillow Talk embeds the split screen in intricate ways in the narrative of the film. In total, the film has ten split–screen scenes that are unevenly distributed over the length of the film. Two thirds of the split–screen scenes are in the first act of the film, while none are in the last act. Far from being coincidental or arbitrary, this uneven distribution functions as a play of foreshadowing and allusion as it provides the couple with a shared (virtual) space before they actually share a (physical) space. Therefore, the device fulfils a double narrative purpose: on the one hand, this technique has an economic function as it enables the film to refrain from clumsy and complicated parallel editing patterns, presenting two separate images in one frame. On the other hand, and this is more important, the spectator can already witness how well the couple fits together as the halves of the split screen correspond to each other in terms of colour, mise–en–scene, montage and internal movement. The spectator sees already the shared communal space, while the narrative has to work through the intricate plot movements in order to get rid of such an unclassical device as the split screen. ...

All split–screen scenes in Pillow Talk are telephone scenes, echoing, as argued, the basic properties of the telephone conversation. The paradoxical tension between distance and proximity, between absence and presence is overcome in one scene in particular when the physical division and acoustic closeness are confused as touch complements the visual and aural situation. The split screen shows the protagonists lying in their respective bath tubs, the woman on the left and the man on the right (this placement is consistent throughout the movie) – mise–en–scene, lighting and colour all work to downplay the visual distinction between the two separate images – as if they were in the same bath together (fig. 1). When Brad gently strokes the wall with his toes at the exact point where Jan has put her foot, she pulls it back as though she has been tickled by him (fig. 2). Even though physically impossible (Jan and Brad are in distant places and only talk on the phone), the separating wall becomes semi–permeable. This incident literalises the strange configuration in which the division is at the same time visibly present (both images are in the same frame), yet also visibly negated (we know that we are watching two separate images)."

(Malte Hagener, 24 December 2008 )

Journal of Entertainment Media (ISSN:1447–4905)

Fig. 1&2. Pillow Talk (Michael Gordon, 1959). Image Source: DVD Universal 2003.

1

2

TAGS

1959cinemacommunication • Doris Day • environmentfilmintra-frame • Journal of Entertainment Media • Malte Hagener • mediatedmise-en-scene • Pillow Talk • rear projectionremediation • Rock Hudson • screen-mediated virtual spacespacesplit-screenstory spacetelephone scenevirtual spacevisual communicationvisual languagevisual literacy

CONTRIBUTOR

Simon Perkins
11 OCTOBER 2009

"Can't Stop Feeling" music video: intra-frame, diegetic screen transitions

The visual impact of Franz Ferdinand's music video "Can't Stop Feeling" is largely derived from its extensive use of intra–frame, diegetic screen transitions.

1

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.