Scott Lord

Scott  Lord

Previously having had been writing a novel online, as well as essays on film history and theory.

Location Cambridge, Massachusetts


  • I took a second look at Grammar and it made me write, by the way, the semicolon was my thing and now I find there can be two in one sentence, not just twenty on one page

  • I look forward to studying with you. Thank you

  • @ValJ.S. I think we sometimes write as if we were old when we are young, ie omnisciently, but good luck. I was taking online courses at fifty five and had a heart attack that put me in a similar perspective, which I am still getting used to at sixty one. By now I’m stalling too much and already have the poetic voice

  • Thank you Pablo. Use quite frequently to find peer reviewed papers on Film history and I hope this course helps me to interact with PHD papers to create my own research.

  • Nice studying with you.

  • I am hoping this course will help me with reading PHD thesis papers on Film.

  • Thank you. My friend's father played Matt Dillon on Gunsmoke and I'm still piecing together the sets and costumes. This week I found out they used the same shoot out scene at the opening for ten seasons and then changed it. Every week my friend's father would draw his gun from its holster and shoot the outlaw, like in the European duel.

  • I happened to see Sidney Lumet who directed the first Murder on the Orient Express lecture when I was a young rake, but I’m sure I don’t have a favorite instructor yet. Thanks.

  • I had a computer disaster while previously taking this course but would like to look at week three. Hope it’s ok.

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    I collect trailers. They divulge a little plot or synopsis. I had the theatrical trailer to the HItchcock, if anyone has the need or time.

  • Valentina, the train tracks are a metaphor, thank you. They also are spatiotemporal in that the two men are approaching each other inevitably, no matter how long it takes, and during that interim we see the train on screen as HItchcock squeezes the hourglass with the movement of their legs. Nice studying with you. Perhaps it is a metaphor for their present...

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    Thanks for the wipe from Star Wars, it an homage to early American filmmakers.

  • @IanWall Thank you. I put a PDF copy in my bookmarks. Heath, as you know brings in The Absent One of Oudart; psychoanalytic. For our purposes I included the phrase “the signifying chain of images” into my notes for now. Something to read after time for this class runs out !!

  • Ian,
    I skimmed a little Christian Metz that I would be familiar with, and honestly, a this point we are discussing editing albeit the “linguistic sign” seems to be a unit and decoupage seems to be a whole, with segments falling in between. So although semiology seems to be about parts of the film and the order or symbolic order- can I hold off to lean...

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    The Haunting uses really nice close angles of characters that are far apart from each other.

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    I added the theatrical trailer of Marnie to my collection during this class.

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    Ian, good scene. (I saw Lady in the Lady more than fourty five years ago when I had a super eight movie camera.)

    I add films to my collection occasionally and did happen to have the trailer of Lady In the Lake on my You Tube page, if that lends the story meaning before you get a chance to view the whole film.

    The mirror...

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    We just saw a dance sequence on Netflix where the camera movement was almost counter to the dancing. Rather than full shots, the entire human figure, it followed the direction of the dancers in close shots, angled oddly. It may have been jarring, but was unique to that film.

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    Just to follow the conversation, Ian, it seems your holding on to there being a subjectivity embedded in the shot-reverse-shot when distinguishing the over the shoulder shot from the point of view shot and what might be categorically one of each. Thank you.

  • Theme? Perhaps thematic editing. My wife and I visited a building on the Atlantic titled Motif Number One, the most widely painted building in the U.S because it belonged to an art colony. She beautifully said,”It’s nice if you just like to stare at a shack.” There’s nothing to do but paint. So my idea is that Motif, although thematic, has less action, if any....

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    Maybe later we can go over inferred-to-be-in-the-scene, ie absent characters referred to in dialogue, non-diegetic sound, the orchestrated soundtrack that is in fact voice over, and other clues to the story that aren’t in the story world.

  • Well put. Straight on shot. Pull back shot.

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  • Nice studying with you Ian !!

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    Ian, thanks very much for all you have done so far and I am looking forward to the other sections with the necessity of quickening my pace to catch up. To be continued.

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    There is a plasticity to the surroundings in The Third Man created by flat, solid vertical planes in shadow. The interrelation of lighting and mood is expressed by the night exterior being at canted angles.

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    I have a webpage on Lon Chaney and one of the most iconic moments film is from the Phantom the Opera when he takes off his mask to reveal a skull-like visage and the woman screams. It is most likely the first scene involving a “scream queen” in movie history. A later ballroom scene shows him dressed entirely red.

  • Hi Karen. The name of the Robert Redford movie is “The Hot Rock”. Being American, I googled “Robert Redford Park Bench”.

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    The color scheme is interesting in the Redford photo. If I’m right, Redford is employing the nondescript blend of blue gray so that he won’t be noticed in a crowd, where as the spy he is talking to is so undercover that he is portraying a seventies “swinger” in purple and pink and by looking like he is looking for women to notice the stand out in a crowd...

  • Bless you Ian, but I don’t think I need anything just now- I haven’t been here due to a computer crash and I just got a replacement this morning. Sorry I’m behind in the class, but everything is now up and running. Thanks again.

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    Any thought anyone on diegetic and non-diegetic elements of the film?

  • Hi Ian. If you really like A Trip to the Moon, I have a copy of the 1907 sequel where they travel to Saturn, titled The Eclipse. Nice studying with you.

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    From the background of the shot to the foreground of the shot, at a diagonal.

  • Well done. Cultural meanings accumulate overtime.

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    You’ve pierced the heart of Dadaism and Surrealism. But yes, the very act of foreshadowing the denouement is to bring about a meaning that is shared with the audience.

  • I noticed there was reverse screen direction with the way the truck was driving and it made the animation seem more real or more part of the story. The truck drives toward the camera and then the camera cuts to see
    It driving away from the camera- the authorial camera or camera as narrator. It pulls us in to the story.

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    It seems that the meaning of Ascension is clearly contingent upon its having been made after the Atomic Bomb. If it is a European Film there could be a connotation that Europe after the Atomic Bomb has been submerged, perhaps even religiously, by the Cold War superpowers and will slowly rise to the surface through art and culture. Almost to say we have had...

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    Reading a film would usually imply that we are looking for its meaning, what they images convey, ie. content, topic, subject, thematic plot. It still seems reading a Film is a term about deciphering it’s technique, ie lighting, narrative structure, shot structure, pacing....the grammar of the film.

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    I mostly write about Silent Film, but try to make it to a mystery when I can.

  • Ethan, I have a You Tube Page with mysteries and thrillers and what you might like are serials. They were Mysteries, some with Bela Lugosi filmed in 15 minute action packed installments- Cliffhangers. Some were made during WWII and involve spy plots but they all are fast paced.

  • Great Steven, try Lady in the Lake directed by Robert Montgomery. It’s a gimmick film but it’s just serious enough when you run it with The Big Sleep.

  • Hi Jill, it’s a notorious area for the study of film. I look forward to studying with you and I’ll find you the Oxford magazine from the 1930s with Phillip Rotha et al.