z.B. Der Begriff der Kadrierung (fr

z.B. Der Begriff der Kadrierung (frz. cadrage oder eben mise-en-cadre; der entsprechende englische Terminus ist framing) geht auf Bazin zurück. Das Produkt der mise-en-scène, die einzelnen Bildelemente innerhalb des begrenzten Bildfeldes (engl. Frame, frz. cadre) anzuordnen, und zwar unter den drei Aspekten der räumlichen Wirkung und Bildkomposition, d.h. im Hinblick auf die folgerichtige Entfaltung der Filmhandlung. Bevor sich dieses Kapitel diesen drei Aspekten und daran anschließend den Kamerahandlungen zuwendet, sollen einleitend einige Bemerkungen zum Bildformat erfolgen.

Results (English) 1:

E.g. The concept of framing (French framing or just mise-en-cadre; framing is the corresponding English term) goes back to Bazin. The product of the mise-en-scène, the individual picture elements within the limited field of the image (also known as frame, French cadre) to order, under the three aspects of the spatial effect and image composition, i.e. with regard to the logical unfolding of the story. Before this chapter turns to these three aspects and then the camera acts, introducing some comments about the image format should be made.

Results (English) 2:

eg the concept of framing (French cadrage or even mise-en-cadre;. the corresponding English term is framing) goes back to Bazin. The product of the mise-en-scène, the individual pixels within the limited field of view (eng. Frame, French. Cadre) to arrange, under the three aspects of spatial effect and composition, ie in terms of the logical unfolding of the film plot. Before this chapter these three aspects and subsequently turns the camera actions, should be carried out in the introduction to the image format a few remarks.

Results (English) 3:

for example, the concept of the framework (or. cadrage or mise en cadre; the corresponding english term is framing) on bazin. the product of the mise - en - stage, the individual image elements within the limited frame (engl. frame or. a request, under the three aspects of spatial effect and composition, i.e.in terms of the logical development of the filmhandlung. before this chapter these three aspects and then turned to the kamerahandlungen, begin with a few remarks to be separate.