Blade of Grass Cut: Difference between revisions

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What it is '''not:''' Shots of an object with major significance to the subject (the Ring in ''[[Lord of the Rings]]'', the Coffee and the Cigarettes in ''Coffee And Cigarettes'', [[It Was His Sled|Rosebud]]...)

See also [[Motif]] for use of objects as a [[Exactly What It Says On the Tin|motif]], usually a recurring [[Department of Redundancy Department|motif]].

See also [[Motif]] for use of objects as a [[Exactly What It Says on the Tin|motif]], usually a recurring [[Department of Redundancy Department|motif]].

This is a specific type of [[Montage]]. Related to [[Aspect Montage]], among others.

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== [[Comics]] ==

* ''[[Watchmen (~~Comic Book~~)|Watchmen]]'' combines this with [[Motif]], cutting in between panels to random symbolic objects (including a snowglobe and a rose, see below) flying in stop motion to symbolize the character's thoughts, immutability of time [[Buffy-Speak|and stuff]].

* ''[[Watchmen (comics)|Watchmen]]'' combines this with [[Motif]], cutting in between panels to random symbolic objects (including a snowglobe and a rose, see below) flying in stop motion to symbolize the character's thoughts, immutability of time [[Buffy-Speak|and stuff]].

== [[Film]] - Animated ==

* ''[[~~The Lion King (Disney)|~~The Lion King]]'': as Simba climbs Pride Rock to take his rightful place as king, there is a brief shot of a wildebeest skull being washed away in the rain, as if to indicate that the land is being cleansed of the excesses of Scar's regime.

* ''[[The Lion King]]'': as Simba climbs Pride Rock to take his rightful place as king, there is a brief shot of a wildebeest skull being washed away in the rain, as if to indicate that the land is being cleansed of the excesses of Scar's regime.

== [[Film]] - Live-Action ==

* Many of the shots during musical sequences of ''[[Easy Rider]]''.

** A classic, almost definitive example can be found [http://www.youtube.com/watch?v=jMqVrUSz62o&feature=fvw here].

* Visible in ''[[Butch Cassidy and ~~The~~ Sundance Kid]]'' in a fade in/out of a tree branch with dew, set to "Raindrops Keep Falling On My Head".

* Visible in ''[[Butch Cassidy and the Sundance Kid]]'' in a fade in/out of a tree branch with dew, set to "Raindrops Keep Falling On My Head".

* ''[[The Thin Red Line]]''. Body blows up -- cut to blade of grass. Man slowly dying -- cut to birds preening in the trees. Narrator asks "why is nature at war with itself?" -- cut to a crocodile swimming.

* This may include the film ''[[La Jetee]]'', which is made up of ''all'' still shots with one motion shot.

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* Many examples are silent or musical, many have dialogue, often painful dialogue, going over. ''[[High Hopes]]'' by Mike Leigh has quite a few "overlong" shots of doors, an elderly lady's dentures, a series of shots of gravestones, often used to reflect a malaise of the characters.

* Many shots in ''[[Dancer in The Dark]]'' are examples of this.

* Rosebud does not apply in ''[[~~Citizen Kane (Film)|~~Citizen Kane]]'', but the snowglobe possibly does. In fact, snowglobes in general.

* Rosebud does not apply in ''[[Citizen Kane]]'', but the snowglobe possibly does. In fact, snowglobes in general.

* [http://camswonks.blogs.com/cinesthesia/2005/03/hill_on_the_fil.html: Karina Hill] writes about [[Sergei Eisenstein|Eisenstein]]: <small>"His associational montages use dialectic elements to activate audience emotions. Generally, his associational montages are used to sadden or disgust the audience. Intellectual montage is the colliding of two unrelated shots in order to arrive at an understanding of an abstract concept or message. The Soviet system within which he worked emphasized the social utility of film and he believed that film could be used to reeducate the public. Therefore, Eisenstein used montages to incite physiological, emotional, and intellectual responses in spectators, with the ultimate goal of motivating them to take action."</small>

** To illustrate, here are some examples from ''[[Battleship Potemkin]]'': A shot of an officer tapping the hilt of his sword is followed by a shot of a priest tapping his crucifix, to imply the connection between the Church and the oppressive tsarist government; an officer is dumped overboard and a shot of the water churning after he falls is compared to an earlier close-up of the maggot-ridden meat that let to the revolt; and the famous three successive shots of lion statues in progressive stages of standing up, symbolizing the people standing up against oppression.