ABSTRACT
As discussed in Chapter 1, the movements of actors, on however large
(whole body) or small (blink) a scale, are the explicit expression of
their internal rhythms and emotions. Leisurely strolling and frenetic
pounding have different rhythms. The timing and energy of the move-
ment within them is their emotion made explicit, and this is the mate-
rial being composed into the fi lm’s rhythm.
