ABSTRACT
Leisurely strolling and frenetic running have different rhythms, their timing and energy have different feelings and different meanings in the context of a character’s story. But the movement available to an editor to shape into patterns is not limited to the human body. Movements in the world of the film are shaped into rhythms, too. Water, for example: rushing, trickling, boiling, and freezing water all contain different qualities of time, space, and energy, and these, when shaped into the rhythmic composition of a film, extend their movement feeling across the images and the sense of rhythm in the film’s world. The next sort of rhythm is barely separable from the first, and in many cases will have precisely the same source, but is experienced slightly differently. It is the experience of the trajectory of the emotions in relation to the trajectory of the movement.
