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Four dimensional field- Time

Rijitha R
Rijitha R

This document discusses different aspects of time that are relevant to video and film. It defines three types of time: clock time (objective time), psychological time (subjective time), and biological time. It states that when structuring the four-dimensional field for video and film, the primary interests are objective and subjective time. It describes how directors can control objective and subjective time to influence the pace and tempo of a film. Editing allows filmmakers to change the time order and construct their own timeline. Examples like flashforwards and instant replays are given to illustrate manipulating time in edited video and film. Specific movies are referenced as examples that play with the concept of time.

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Four Dimensional Field-The Significance of Time Prepared by Ms Rijitha. R (M.A, M.Phil., SET) Assistant Professor Department of Electronic Media
Time Artists may be concerned only with the aspect of time that best suits them in their quest to clarify and intensify experience within a specific medium, such as video or film. And this is exactly what we will do: select and discuss those aspects of time and motion that seem most relevant to our mediaspecifically video and filmand that help us best in understanding and structuring the four- dimensional field.
Types of Time The time we measure by the clock is called, appropriately enough, clock time or objective time. The time we experience is called psychological time or subjective time. A time also exists that regulates our body functions and determines when we feel alert and when we feel tired. This third type is called biological time. In structuring the four-dimensional field for video and film, we are primarily interested in the first two types: objective and subjective time.
Fourth tool of narrative cinema Time and motion are commonly known as the fourth dimension of cinema. Since a key factor regarding film is moving images, the director's ability to control of objective and subjective time forms an aesthetic expression of the pace, tempo, and rate of individual performances (Zettl 288). Objective time is "the time we measure by the clock" (Zettl 383) which presents an "objective, quantitative measure of observable change" (Zettl 383). Subjective time is "the duration we feel" (Zettl 385). It is "also called psychological time" (Zettl 385). The use of slow motion, fast motion, event motion (i.e., whatever moves in front of the camera), camera motion (to include camera pan, tilt, pedestal, dolly, zoom etc.), and editing motion (i.e., where movement is brought about by using shot changes from one film source to another) contributes to the film's aesthetic quality.
Time in Edited Video and Film Through editing you can change the time order of past, present, and future at will and construct your own time arrow. For example, a flashforward will interrupt the normal cause/effect development of a story and provide viewers with a brief glimpse of a future event. The instant replays have triggered a new use of the traditional flashback, which shows brief scenes of past events anytime in the story. A simple conversation between two friends or an interrogation of a suspect might trigger an instant recall, which is then illustrated by brief, dazzling video and audio effects.
Examples Momento Curious Life of Benjamin Button Terminator TENET Indru Netru Naalai Kaka Kaka
Example- Time
Example- Time The last scene of movie the Inception, directed by Christopher Nolan.
Example- Time (Freeze frame)
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Four dimensional field- Time

  • 1. Four Dimensional Field-The Significance of Time Prepared by Ms Rijitha. R (M.A, M.Phil., SET) Assistant Professor Department of Electronic Media
  • 2. Time Artists may be concerned only with the aspect of time that best suits them in their quest to clarify and intensify experience within a specific medium, such as video or film. And this is exactly what we will do: select and discuss those aspects of time and motion that seem most relevant to our mediaspecifically video and filmand that help us best in understanding and structuring the four- dimensional field.
  • 3. Types of Time The time we measure by the clock is called, appropriately enough, clock time or objective time. The time we experience is called psychological time or subjective time. A time also exists that regulates our body functions and determines when we feel alert and when we feel tired. This third type is called biological time. In structuring the four-dimensional field for video and film, we are primarily interested in the first two types: objective and subjective time.
  • 4. Fourth tool of narrative cinema Time and motion are commonly known as the fourth dimension of cinema. Since a key factor regarding film is moving images, the director's ability to control of objective and subjective time forms an aesthetic expression of the pace, tempo, and rate of individual performances (Zettl 288). Objective time is "the time we measure by the clock" (Zettl 383) which presents an "objective, quantitative measure of observable change" (Zettl 383). Subjective time is "the duration we feel" (Zettl 385). It is "also called psychological time" (Zettl 385). The use of slow motion, fast motion, event motion (i.e., whatever moves in front of the camera), camera motion (to include camera pan, tilt, pedestal, dolly, zoom etc.), and editing motion (i.e., where movement is brought about by using shot changes from one film source to another) contributes to the film's aesthetic quality.
  • 5. Time in Edited Video and Film Through editing you can change the time order of past, present, and future at will and construct your own time arrow. For example, a flashforward will interrupt the normal cause/effect development of a story and provide viewers with a brief glimpse of a future event. The instant replays have triggered a new use of the traditional flashback, which shows brief scenes of past events anytime in the story. A simple conversation between two friends or an interrogation of a suspect might trigger an instant recall, which is then illustrated by brief, dazzling video and audio effects.
  • 6. Examples Momento Curious Life of Benjamin Button Terminator TENET Indru Netru Naalai Kaka Kaka
  • 8. Example- Time The last scene of movie the Inception, directed by Christopher Nolan.
  • 10. END