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---------- Forwarded message ---------- From: scottlordnovel <noreply@google.com> Date: Mon, Nov 29, 2010 at 3:00 PM Subject: [scottlordnovel] Inga's Veil, Evening erotic novel, film poem was updated To: scottlordnovelist@gmail.com revision copyright She is not seen with him untill the second scene of the film. After the introductory scene, which is primarilly a nude glamour character study of her in one room, a drawing room, or living room, and, which, having had been being filmed as though being begun in progress, is concluded by her decision to either shower then or to shower after having entered a nearby, adjoining bedroom, there is a compilation scene of exterior shots of her and her lover during several shot reverse shots, bracketted from successive conversations to compensate for the lack of an establishing shot and for the lack of the erotic suture of the look with shot counter shot. The bedroom is introduced by an autonomous insert shot of her eyes, displaced from the diegetic of what appears to be it could only be from that same evening, with every possibility of it being a conceptually linked image of her during fantasy, the body movement and reiterations of non-movement transcendent, and, while bringing the shots into relationships of linkage, although felt more intuitively while enclosed as a subject object polarity, an introspective prophecy of what wouldn't transpire untill the following night. Whether it is a shot independendent of what is to occur and a non-diegetic insert used to explore female gratification or a nearly identical instance flashforwarded within the present scene, it is it an extreme close up of her eyes, eyelids and eyelashes during the latter middle of sexual intercourse. If it is to reappear later in the scene, possibly contained within adjacent shots of her in continuity from varying cameraplacements, while the direction in which she is looking is kept fairly steady, it is uncertain as to whether it is part of a single shot sequence of longer duration not yet foreshadowed as being from nearer towrd the end of the film, or included in a series of ectasy shots that could, in effect, be intercut with tightly framed shots of her climaxing, or of her approaching plateau not during intercourse. In its not belonging to a spatial temporal continuum in regard to the aesthetic structures, and erotic substructures, structural unity being reliant upon the image and the objectification of fantasy as anticipatory of casual relationships, plot and character are developed as there being an involvement that has, dramaticlly and thematiclly, already taken significance and its transpostion is of the desire for it to deepen. The depiction of her lover as character is left to the observation of the intricacies of her character, particularly as an embodiment of erotic emotion and that being their interaction, the presentation of his character only being through her specific soliloquy fantasy and speculation or thoughtful rememberance. As of yet, it is as not altogether ascertainable whether he that evening had or would have switched their sexual position, or positions, during the act of lovemaking, or if he had earlier that evening given her a massage, more often than not one that would only from her shoulders to her lower back but reaching to the back of her legs, and had entered her while she was on her stomach, or more seldom, in that she rarely would put a pillow beneath her, while she was on her knees- it may have been that she had woken him before it had become morning. There are shots in the first scene that are repeated later in the film and yet there are no shots repeated during the film from earlier than the first scene. As story and discourse can surface as voyuerism, the requirement of a narrator that impinges upon dramatic action as object and as the relation between object and the semiological structure of point of view, the ensuing interrelated stanzas, of dialouge scenes as taken together, although recounting their conversations as not only being intertwined referentially by nearly repetitive or responsorial phrases and snatche, but that as the wordplay of lovers, if only to express sentimentality, within the interconnected variations individually allluding to the two becoming more intimate,each occaisionally paraphrasing or quoting the other, are, if thought of as assembled into montage, filmed out of continuity. The added requirement of subject identification for discourse and diegesis brings a temporal transparencey, or transversal of interruption, to the third person viewer-viewfinder positioning in that the voyeur synthesizes a diegetic similarity rather than continuity of image; there is a narcissistic auto-erotic appropriation of image in that she is an object beheld, beheld by a compliment. Each series of shots having had been being a different occaision of their having accompanied each other, the multi-scene dialogues are in fact are not necessarily from the same eighteen, or seemingly twenty, hour period nor are they necessarily specifically from either morning, afternoon or the magic hour of evening within the film's syntagmatic ordering of images, but ares, but that as the wordplay of lovers, if only to express sentimentality, within the interconnected variations individually allluding to the two becoming more intimate,each occaisionally paraphrasing or quoting the other, are, if thought of as assembled into montage, filmed out of continuity. The added requirement of subject identification for discourse and diegesis brings a temporal transparencey, or transversal of interruption, to the third person viewer-viewfinder positioning in that the voyeur synthesizes a diegetic similarity rather than continuity of image; there is a narcissistic auto-erotic appropriation of image in that she is an object beheld, beheld by a compliment. Each series of shots having had been being a different occaision of their having accompanied each other, the multi-scene dialogues are in fact are not necessarily from the same eighteen, or seemingly twenty, hour period nor are they necessarily specifically from either morning, afternoon or the magic hour of evening, if there is in fact that particular hour that lends a three dimensional, color layered texture that as referent compliments earlier plasticities within the film's syntagmatic ordering of images, and yet the structure within the image keeps them as being filmed in the same location. "I could have met you at the gallery. Or in the musuem courtyard." "There were periodicals in the reference library I needed. Thanks, it was only in order to compare old magazine covers to oil paintings." The two lovers, either intentionally neglecting to directly remind each other how they first met because it had been after nightfall, or from sentimentality deepening it by allowing a greater complexity to their dialougue exchange aquired over time as though during game where there might be a door to the building in fact out of courtesy left for her to open, there being the possibility of his carrying something for her, there being the certainty that once inside he would allow her to rest, are filmed alone together with varying scene contrasts . There is still the possiblity that she had seen him before they had met and that she had been watching him for an indeterminate amount of time. As each cut to their again being alone together, if filmed where they can be seen where they may or may not be being watched, is subtley at a different light meter level with different metaphoric, or thematic values to the lighting, there being a subsequent autonomy to the camera in its creating a shot linkage between the images involved during the inscription of shadowplay; they may or may not be in chronological narrative structure grammaticlly, or stanzaiclly. The shot, and its subject within the frame as the two trade questions through either dialouge or the implications of staring-listening, being a unit of discourse , what is linear, linguistic associations interrelating meanings poeticly, the particular scene during each successive reframing is the disclosure of the romantic. Throughout the entire first scene of the film, it is that we become aware that by all accounts she will be reintroduced to the viewer later in the film, which on screen without our viewing the rushes occurs at the beginning of the next scene, and that brings an interest in how her lover will be introduced as a characetr to the spectator, her being more omniscient than the spectator who is as it so happens relegated to the camera's selection of detail. If in fact she knows that she will not see him untill morning at the earliest, provided there isn't the abstract times switches involving a thrid or fourth scene that the rushes allow, the spectator is kept by and large unaware as to whether he will enter during the first scene, so much so to where it is still uncercertain whether he will let himself in while she is asleep; the characters are quickly recirculated into the second scene and only as having had been being been together with each other before the first scene, only as two needing only to be alone together. During the first scene, the camera replaces, or becomes symbolic of , the mirror that is her theater mask, one which she has left in the bedroom or the bathroom- her eyeline not only is watched by the camera, but she is also in front of the fact a solitude that reflects back upon her, a pool that reflects the image of only one swan, one swan desiring to be seen not only be the mirror that has become a mask, but by the other, the need to be made complete. Within her thoughts, he is watching her from whereever he might happen to be- in the light she waits to be cloaked by evening. Complementary movie- writing sequel in novel form Author' note: apparently there is a new contemporary novel of quality already published under the title Veil of Night. This title can be only tentative. |
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---------- Forwarded message ---------- From: scottlordnovel <noreply@google.com> Date: Mon, Nov 29, 2010 at 2:42 PM Subject: [scottlordnovel] Inga's Veil, Evening, erotic novel, film poem page six was updated To: scottlordnovelist@gmail.com Scott Lord updated the page Inga's Veil, Evening, erotic novel, film poem page six. View the changes below. Color key: Insertion | Deletion It had been when she had first brought him to a different area of the city, then new to him, where it kept him alert and things where fresh. She reflected momentarily to a trick that he had had of sucking her upper lip while kissing her when they first met, which was designed to cause her to think of a variation of tongue movement a during cunnilingus when he occaisionly, unexpectedly would near the clitoris and shift his movement from his tongue to his lips and draw in, sucking slowly before returning to the varying speeds of his tongue. For some reason during their relationship it became less frequent, as had some of their familiar repeated dialouge from that time period and those months of finding new parts of the city together, as though it were left open only to when they would reminisce; she often would abandon things sentimentally and go on on to new aspects of them, it only serving to deepen and make more intricate how they looked at each other. She thought back to her having mentioned that she had an errand to run and asked if while they were there they could look for new stores that were known to be in that area, her having said that it was only a whim, his then having replied that he would rather try, then while it was still available to the both of them, should they later remember the afternoon as having been irreclaimable. The camera cuts to a flashfoward over the shoulder nude medium full shot that belongs to a series of shots later in the sequence that, had the entire series been kept in the film, as edited chronologically, would have allowed for a similar closer angle with or without a second angle filmed from an oblique angle accompanying it. The director has begun playing the game of improvisation with the actress. It is an oblique angle that she at this juncture of events in the proper continuity of the film is unaware of, and yet he has conceded the over the shoulder shot to the viewer. Perhaps to record the the movement of her body from an angle unknown to the screen in that particular interior light, it is that he will have divulged to her that he is the director looking at her as an actress from that oblique angle, now a new angle, his using the camera to instruct her acting. It is uncertain as to whether or not she has turned off the lamp during the interim, the interpolated shot being filmed over the shoulder and showing from the bend of her knees upward, althought the lamp is near enough to the wall for ther to be bounce light. The shot is of moderated legnth, her footsteps moderately soft, her stride nearly slow. During the shot, or toward the end of the shot transversing the cut to a closer angle which would have been kept in the film, there would have been a voice over narrative in the present tense of her quoting him, her nearly whispering, "When he said, 'I would have liked to have talked with you.", it seeming as though summary of what had significance to her. The shot particularly shows , given how early it is in the film her shoulders in comparision to her arms, the left and right curve in comparision to their legnth, one being down to her side and the other bent at the elbow, it carrying a flower that had been left in the vase in the bedroom for breakfast, her placing it on the dresser rather than the night table. As she hesitantly borught the flower to her mouth, perhaps nearer to her cheek, the camera tracks to a lower angle. It is not only her relationship with the camera with which the director has been playing a game of improvisation whith the actress and what she may contribute to the script without knowing the decisions available to him, and what he can learn about her personally and or as an actress that could lead to his filming differently, but also, in addition to his countering each of her emotions in any particular instance of them with it being that he is creating a fictional character and can confront her with any change in the screenplay, any postion her body may take, but he has also begun any transformation of beliefs or ideas that accompany transformation of character, his noting any difference of how the role can be played and how her personal emotion could be drain and dredged up to deepen his script, if it is only her range of emotion and insight being different at the end of the film than from what it had been at the beginning in particular his observance of the actresses response to what transpires and the character recreated repetitiously with each scene of the film, her beginning a matrix of possible nuances yet to be experienced by the actress, to where she might add a subtle facial expression or guesture to the script while filming that had been previously unknow to the director as screenwriter, on only brought to the screen through his sense of timing. He had begun the game of making love to his actress visually. The film cuts back to the previous shot of her nude stomach. In that the light doesn't change during the shot, any slight difference is left to the intershot relationships of varying camera angle and subject positions, the reintegrations of space gradually bringing light into leitmotif as camera movement acquires the mretaphorical, particularly in it being that she is aware of his look although it i still before what will either be his arrival or their meeting each other as some specified laocation, her body and the objects she passes, the objects within her view, objects she only briefly glanes toward are integrated into the narrative frame; that setaphorical, particularly in it being that she is aware of his look although it is still before what will either be his arrival or their meeting each other as some specified location; her body and the objects she passes, the objects within her view, objects she only briefly glances toward are integrated, as is a versimilitude of their spatial proximities and clarifying qualities, into the narrative frame; that shadow itself is spatial movement as the camera decides when to cut, possibly on her eyeline or on her action- her nudity functions as a symbol only insomuch as the actress has not yet entirely disclosed her relationship to the act of desire to the viewer, her account of pleasure inscribed within the poetic sequence while the tone of the scene is created, while the tonalities of the film are developed into being interwoven, often as though plangent. Her movement within the frame is horizontal as she is spinning into three quarter profile and yet she is moving slower than the camera. Her midriff that he had kissed while making love to her, her midriff that he had kissed during her taking a shower, becomes a background as only her fingertips appear in the frame, pictorially displaying the depth tightly yet metaphorically as a reference to to a unison of solitudes within the context of a concrete image, it is an enunciation of the solipstic, his having a corporeal being that eschews being her desire for the aethetic object for its own sake, but as need to be desired by it, if not as though within its ownership while beheld, a fantasy to heighten, prolong and reinitiate, as to recontact pleasure as experiential, possibly untill making love into fantasies that were unknown, after being found later as included in the film as possible sonnet sequence. |
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Meddelande från victorseastrom@gmail.com: Scott Lord Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. | Notebook 1 |
Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. Notebook 1 scottlord- Swedish Film and the Svenska Filmins... scottlord Google Bloggsok – Google Bloggsøk svenska filminstitutet scottlord- Swedish Film and the Svenska Filminstit video.google.com Silent Film public domain video.google.com silent film - Go... Silent Film video.google.com Swedish Film Notebook (scottlord) scottlord blogspot Internet vide- online film, Silent Film, Swedish My Notebook- Swedish and Silent Film Online Film- Silent and Early Sound site:www.geocities.com/lord02141/scottlord.html - Search | Bifogat: Notebook 1 |
Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. | Notebook 1 |
Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. Notebook 1 scottlord- Swedish Film and the Svenska Filmins... scottlord Google Bloggsok – Google Bloggsøk svenska filminstitutet scottlord- Swedish Film and the Svenska Filminstit video.google.com Silent Film public domain video.google.com silent film - Go... Silent Film video.google.com Swedish Film Notebook (scottlord) scottlord blogspot Internet vide- online film, Silent Film, Swedish My Notebook- Swedish and Silent Film Online Film- Silent and Early Sound site:www.geocities.com/lord02141/scottlord.html - Search | Bifogat: Notebook 1 |
Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. | Scott Lord Erotic Film Novel |
Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. Scott Lord Erotic Film Novel Google Anteckningsblock Ingmar Bergman Google Reader -scott's starred items svenska filminstitutet. swedish film Google Reader -scott's shared items svenska filminstitutet. swedish film Google Reader -scott's shared items svenska filminstitutet. swedish film Google Reader -scottlord's shared items Swedish Silent Film, svenska filminstitutet. swedish film Bloggportalens inpostauthor:scottlord - Google Bloggsök Bloggportalen.se - scottlord Slitz.se - Startsidan scottlord - RSS Verzeichnis Filminstitutet - RSS Arkiv Blogg: scottlord Swedish Film - Bloggar - Blog Toplist Scott Lord | Bifogat: Scott Lord Erotic Film Novel |
Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer.  | aprilreader |
"svenska filminstitutet" via scottlord If you'd like to automatically receive updates to this feed, you can subscribe now. Both Hasse Ekman and Anders Henrikson appear in the film, as do Inga Tiblad, Britt Hagman, Swedish silent film star Emma Meissner and the young actress that still directs audiences to the film by her having later remade it in the United ... scottlord- Swedish Film, Silent Film. My Photo. scottlord- Swedish Film and the Svenska Filminstitutet: Swedish Film: Silent Swedish Film of Victor Sjostrom and Greta Garbo to Modern Swedish Film of Arne Mattsson and Ingmar Bergman ... an identification with the action of the film actress, the idealized appropriated into the dramaturgy of the erotic;her movements are those of. Greta Garbo in character- the only way to become authentic is to be the absolute object of her look, and only then ..... scottlord- Swedish Film and the Svenska Filminstitutet: Swedish Film: Silent Swedish Film of Victor Sjostrom and Greta Garbo to Modern Swedish Film of Arne Mattsson and Ingmar Bergman. View my complete profile ... Victor Sjostrom, *Greta Garbo*, Swedish Silent Film « *scottlord* *...* - In the Story of *Greta Garbo*, a 1928 interview with Ruth Biery published in Photoplay, *Garbo* relates of Mortenson's being in Hollywood and of her planni. ... scottlord- Swedish Film, Silent Film. My Photo. scottlord- Swedish Film and the Svenska Filminstitutet: Swedish Film: Silent Swedish Film of Victor Sjostrom and Greta Garbo to Modern Swedish Film of Arne Mattsson and Ingmar Bergman ... Google Reader - "silentfilm" via scottlord - scott lord - Google Profile. via Blogdigger Link Search for http://www.geocities.com/lord02141/scottlord23.html by scottlord- Swedish Film and the Svenska ... 3 weeks ago ... Svenska Filminstitutet Arne Mattsson - scottlord-- modern swedish film swicki - powered by eurekster - scottlord- Swedish Film and the ... scottlord- Swedish Silent Film ... Svenska Filminstitutet Arne Mattsson - scottlord-- modern ... scottlord- Swedish Film, Silent Film. My Photo. scottlord- Swedish Film and the Svenska Filminstitutet: Swedish Film: Silent Swedish Film of Victor Sjostrom and Greta Garbo to Modern Swedish Film of Arne Mattsson and Ingmar Bergman ... Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. "svenska filminstitutet" via scottlord If you'd like to automatically receive updates to this feed, you can subscribe now. Both Hasse Ekman and Anders Henrikson appear in the film, as do Inga Tiblad, Britt Hagman, Swedish silent film star Emma Meissner and the young actress that still directs audiences to the film by her having later remade it in the United ... scottlord- Swedish Film, Silent Film. My Photo. scottlord- Swedish Film and the Svenska Filminstitutet: Swedish Film: Silent Swedish Film of Victor Sjostrom and Greta Garbo to Modern Swedish Film of Arne Mattsson and Ingmar Bergman ... an identification with the action of the film actress, the idealized appropriated into the dramaturgy of the erotic;her movements are those of. Greta Garbo in character- the only way to become authentic is to be the absolute object of her look, and only then ..... scottlord- Swedish Film and the Svenska Filminstitutet: Swedish Film: Silent Swedish Film of Victor Sjostrom and Greta Garbo to Modern Swedish Film of Arne Mattsson and Ingmar Bergman. View my complete profile ... Victor Sjostrom, *Greta Garbo*, Swedish Silent Film « *scottlord* *...* - In the Story of *Greta Garbo*, a 1928 interview with Ruth Biery published in Photoplay, *Garbo* relates of Mortenson's being in Hollywood and of her planni. ... scottlord- Swedish Film, Silent Film. My Photo. scottlord- Swedish Film and the Svenska Filminstitutet: Swedish Film: Silent Swedish Film of Victor Sjostrom and Greta Garbo to Modern Swedish Film of Arne Mattsson and Ingmar Bergman ... Google Reader - "silentfilm" via scottlord - scott lord - Google Profile. via Blogdigger Link Search for http://www.geocities.com/lord02141/scottlord23.html by scottlord- Swedish Film and the Svenska ... 3 weeks ago ... Svenska Filminstitutet Arne Mattsson - scottlord-- modern swedish film swicki - powered by eurekster - scottlord- Swedish Film and the ... scottlord- Swedish Silent Film ... Svenska Filminstitutet Arne Mattsson - scottlord-- modern ... scottlord- Swedish Film, Silent Film. My Photo. scottlord- Swedish Film and the Svenska Filminstitutet: Swedish Film: Silent Swedish Film of Victor Sjostrom and Greta Garbo to Modern Swedish Film of Arne Mattsson and Ingmar Bergman ... | Bifogat: aprilreader |
Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. | Ingmar Bergman |
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Ingmar Bergman Swedish Film more:ingmar_bergman - Google-haku swedish film institute Ingmar Bergman Sommarnattens Leende (Smiles of a Summer Night) ingmar bergman Ingmar Bergman En Lektion i Karlek (A Lesson in Love) ingmar bergman Ingmar Bergman inpostauthor:scottlord – Google Bloggsøk Ingmar Bergman more:svensk_filmindustri - Google-sökning Ingmar Bergman more:ingmar_bergman - Google-sökning Ingmar Bergman - Google-sökning Ingmar Bergman www.google.de/custom?q=Ingmar+Bergman&btnG=Suche&h... Etiketter: Ingmar Bergman. Ingmar Bergman scottlord - Stockholm swicki - p. ... Ingmar Bergman www.google.de/custom?q=Ingmar+Bergman&btnG=Suche&h... Etiketter: Ingmar Bergman. Ingmar Bergman scottlord - Stockholm swicki - p. ... Widgetbox › scottlord- Ingmar Bergman swicki - ... scottlord-swedish silent film swicki - powered by Star Star Star Star Star 5 subscriptions · Icon scottlord Star Star Star Star Star 4 subscriptions · Icon ... Google Base: Modern Swedish Film seach engine I... URL of item reviewed:, http://scottlord---modern-swedish-film-swicki.eurekster.com. Description. Modern Swedish Film- Ingmar Bergman. Contact. Name:, scott ... Ingmar Bergman Ingmar Bergman Ingmar Bergman, Svenska Filminstitutet Ingmar Bergman Ingmar Bergman, Svenska Filmindustri Ingmar Bergman more:svenska_filminstitutet - Go... ingmar bergman, Bergman, Ingmar Bergman "ingmarbergman" via scott in Google Reader ingmar bergman, Ingmar Bergman, bergman, Bergman Google Reader -"ingmarbergman" via scott bergman, ingmar bergman, Bergman Med Google Dokument blir det enkelt att skapa, lagra och dela onlinedokument, kalkylark och presentationer. 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