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Form is the manner in which content is presented. A film that delivers a memo-rable and intriguing impact usually has a form special to the story’s purpose and nature. Norman McLaren’s two shorts Neighbours (1952) and Pas de Deux (1969) make stunning use of pixilation and optical printing, respectively, to enhance what they have to say about men and territory, and about dance. Chris Marker’s unforgettable futuristic fable La Jetée (1962) is told entirely in still photos with just a few seconds of movement in a single shot.

Possibilities in form may seem unlimited, but in fact they are limited by story logic and related concerns. From deciding the story’s ruling point of view and pur-pose, you can choose ...

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