onsdag 16 mars 2011

Fwd: [scottlordnovel] Inga's Veil, Evening, erotic novel, film poem page six was updated



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From: scottlordnovel <noreply@google.com>
Date: Wed, Mar 16, 2011 at 6:30 AM
Subject: [scottlordnovel] Inga's Veil, Evening, erotic novel, film poem page six was updated
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Scott Lord updated the page Inga's Veil, Evening, erotic novel, film poem page six. View the changes below.

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     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 metaphorical, 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. 
     Her thoughts went to when she, on his left acknowledged his looking at her eyes, "I found your bookmark, I didn't know that you were reading it. I'm only to the fifth chapter." Looking toward him, only lowering her head alittle, she had replied that she had used only enough time to slowly cover the first two chapters, hoping to inflect that she liked how he had tried to imply that he had never really before seen two bookmarks in the same book, that he hadn't thought of it and liked the idea that she had. From her being on her right her thoughts would move to his somehow later being behind her, and yet on-screen, the speed of the camera movement slows down and  approaches hers, although the difference had only been slight, and it follows her in to being what would be turning toward his were they in they same room.
 
 

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Scott Lord

Scott Lord

Scott Lord

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