{"id":554,"date":"2018-01-03T21:21:45","date_gmt":"2018-01-03T21:21:45","guid":{"rendered":"http:\/\/generic.wordpress.soton.ac.uk\/dpty2\/?p=554"},"modified":"2018-01-03T21:24:42","modified_gmt":"2018-01-03T21:24:42","slug":"whip-pan-transitions","status":"publish","type":"post","link":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/2018\/01\/03\/whip-pan-transitions\/","title":{"rendered":"Whip pan transitions"},"content":{"rendered":"<p>The style of transition that is going to continue the narrative flow of my film is the whip pan. The whip pan is a fairly common and subtle style of transition from scene to scene in movies, however, I am going to make a feature of it for mine. Some film genres are notorious for using it, such as classic martial arts films, and so are some directors; such as Damien Chazelle, Edgar Wright and Paul Thomas Anderson. I\u2019ve included some short examples of the use of the transition style and a digital demo that I made to test it out in preparation for my film.<\/p>\n<p>HB<\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=KTTAbdUL1LQ\">https:\/\/www.youtube.com\/watch?v=KTTAbdUL1LQ<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Casino Royale shot - Whip Pan\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/6qjCwb9DoaI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" title=\"La La Land - Behind the Scenes &quot;Jazz Whip&quot; - In Cinemas Now\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/a-4uP9K7OlM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><iframe loading=\"lazy\" title=\"digital demo\" width=\"660\" height=\"371\" src=\"https:\/\/www.youtube.com\/embed\/gGGhFEJ7x9I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p><b>Bibliography<\/b><\/p>\n<p>After Hours at Rick&#8217;s. (2014). Wes Anderson\u2019s Grand Budapest Hotel; confecting a modern Buster Keaton comedy. [online] Available at: https:\/\/afterhourswithersi.wordpress.com\/2014\/03\/25\/wes-andersons-grand-budapest-hotel-confecting-a-modern-buster-keaton-comedy\/.<\/p>\n<p>Barnard, L. (2014). Wes Anderson shares secrets about making the Grand Budapest Hotel | Toronto Star. [online] thestar.com. Available at: https:\/\/www.thestar.com\/entertainment\/movies\/2014\/03\/13\/wes_anderson_shares_secrets_about_making_the_grand_budapest_hotel.html.<\/p>\n<p>Bordwell, D. (2007). Observations on film art \u00bb Funny framings \u00bb Print. [online] Davidbordwell.net. Available at: http:\/\/www.davidbordwell.net\/blog\/2007\/04\/30\/funny-framings\/print\/.<\/p>\n<p>Hamid, R. (2014). The General. [online] Senses of Cinema. Available at: http:\/\/sensesofcinema.com\/2014\/cteq\/the-general\/.<\/p>\n<p>Hauser, F. and Reich, R. (2003). Notes on directing. New York: Walker &amp; Co.<\/p>\n<p>Keaton, B. and Sweeney, K. (2007). Buster Keaton. Jackson: University Press of Mississippi.<\/p>\n<p>Knopf, R. (1999). The theater and cinema of Buster Keaton. Princeton, NJ: Princeton University Press.<\/p>\n<p>Kunze, P. (2014). The films of Wes Anderson. Palgrave Macmillan.<\/p>\n<p>LYNSKEY, D. (2014). Film By Film: Wes Anderson On Wes Anderson. [online] Empire. Available at: https:\/\/www.empireonline.com\/movies\/features\/wes-anderson\/ [Accessed 1 Jan. 2018].<\/p>\n<p>Morefield, K. (2015). Faith and spirituality in masters of world cinema. Newcastle upon Tyne: Cambridge Scholars Publishing.<\/p>\n<p>Mufson, B. (2018). Why Buster Keaton&#8217;s the OG of Physical Comedy. [online] Creators. Available at: https:\/\/creators.vice.com\/en_uk\/article\/vvyx9j\/why-buster-keatons-the-og-of-physical-comedy.<\/p>\n<p>Prikryl, J. (2011). The Genius of Buster. [online] The New York Review of Books. Available at: http:\/\/www.nybooks.com\/articles\/2011\/06\/09\/genius-buster-keaton\/.<\/p>\n<p>Puschak, E. (2016). Scott Pilgrim: Make Your Transitions Count.<\/p>\n<p>Available at: https:\/\/www.youtube.com\/watch?v=pij5lihbC6k.<\/p>\n<p>Runquist, K. (2017). Edgar Wright: How to Make a Protagonist | Video Essay. [online] YouTube. Available at: https:\/\/www.youtube.com\/watch?v=p6nFIogiMRg.<\/p>\n<p>Terkel, S. and Keaton, B. (1960). Buster Keaton talks with Studs Terkel ; 1960\/09\/05.<\/p>\n<p>Trahair, L. (2004). The Narrative-Machine: Buster Keaton\u2019s Cinematic Comedy, Deleuze\u2019s Recursion Function and the Operational Aesthetic. [online] Senses of Cinema. Available at: http:\/\/sensesofcinema.com\/2004\/comedy-and-perception\/keaton_deleuze\/.<\/p>\n<p>YouTube. (2018). Casino Royale shot &#8211; Whip Pan. [online] Available at: https:\/\/www.youtube.com\/watch?v=6qjCwb9DoaI.<\/p>\n<p>YouTube. (2018). H\u0131zl\u0131 Pan (Whip Pan) &#8211; Bruce Lee. [online] Available at: https:\/\/www.youtube.com\/watch?v=KTTAbdUL1LQ.<\/p>\n<p>Zhou, T. (2015). Buster Keaton &#8211; The Art of the Gag.<\/p>\n<p>Available at: <a href=\"https:\/\/www.youtube.com\/watch?v=UWEjxkkB8Xs\">https:\/\/www.youtube.com\/watch?v=UWEjxkkB8Xs<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The style of transition that is going to continue the narrative flow of my film is the whip pan. The whip pan is a fairly common and subtle style of transition from scene to scene in movies, however, I am going to make a feature of it for mine. Some film genres are notorious for &hellip; <a href=\"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/2018\/01\/03\/whip-pan-transitions\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Whip pan transitions<\/span><\/a><\/p>\n","protected":false},"author":2622,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-554","post","type-post","status-publish","format-standard","hentry","category-uncategorised"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/posts\/554","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/users\/2622"}],"replies":[{"embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/comments?post=554"}],"version-history":[{"count":2,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/posts\/554\/revisions"}],"predecessor-version":[{"id":559,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/posts\/554\/revisions\/559"}],"wp:attachment":[{"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/media?parent=554"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/categories?post=554"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/generic.wordpress.soton.ac.uk\/dpty2\/wp-json\/wp\/v2\/tags?post=554"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}