"Arrival of a Trailer" and "Damsel in Distress"

Irrelevance of certain shots

Shot stays static in its entirety

Realist vs formalist.

The "Arrival of the Train" piece is the epitome of a realist film. The minimal use of camera work and editing makes it so that the audience is provided with the entire view of the train's arrival. The entire piece is one lengthy shot wide a semi-wide shot. The camera does not move and stays static throughout the shot. Compared to the "Damsel in Distress" piece, the shot provides much more coverage in the scene and provides the audience to see much more therefore making their own assumptions and opinions. On the other hand the very Formalistic and Classical piece, "Damsel in Distress", uses many quick cuts to reveal limited information, wanting to divert the audience's attention to what needed emphasis. The "Damsel in Distress" incorporates parallel action to show different perspectives. These two different perspectives are contrasting to show how one action affected the other. This piece had short shots which most were under a second long. There are many close-ups as opposed to long, continuous shots.