A film, if taken apart, is but a sequence of shots. It is only in the selection and arrangement of shots which creates meaning to an audience. I always did inherently know this, but I could never actually articulate it–until my most recent class this week. With the lessons revolving around shot-types, we had clear and through introduction to how various shots, and their intended meaning behind them can be powerful determinant in expressing emotion or action without having to rely on exposition. Taking the example of the ‘sequence-shot’ our lecturer made a strong case for how an single continuous take can go a long way in immersing an audience and suspending their attention in a way a sequence of single quick shots never could. More to the point, the movement of camera, or lack of, can also influence the action on screen. I felt that, through the course of the class, I can better rationalize the choice in shots in technical terms rather than simply having go by ‘feeling’. A skill that can be of good use, especially when time comes to draw up a storyboard and shot-list for my own film where I’ll be required to communicate to and convince my lecturers and crew-members the desired visual style and the exact reasoning behind blocking or staging a given shot.