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

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Subject: [scottlordnovel] Inga’s Veil, Evening erotic novel, film poem page five was updated
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Scott Lord updated the page Inga’s Veil, Evening erotic novel, film poem page five. View the changes below.

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     Within the syntax of the film, the camera pans down, not solemly, or dolefully, but very slowly as though reserved, as though it could contruct a way to be seen by her, lavishing its downward plunge upon her stillness waiting for her figure to elegantly, almost thoughtfully, vary its postition and it being to no avail in that if she were to be seen in movement it would not be by a camera she could acknowlege having seen, it now a camera reluctant to release her glance as she remained unaware of its vigilance, it as though paradoxical it being that she was waiting for him, waiting to be seen by him, that she felt watched by him while waiting, that she longed for it, in supplication that she be watched by him, that, with her body, she articulated the desire to be watched by him, the desire of it as an inevitability. Now that she has undressed, the sense of expectation has shifted from the attraction of her becoming nude, no matter how quickly, to a dialouge that rather than only having the possiblility of adding to plotline, in being interior monolouge and retrospective narrative, it now carrying it, the camera not only authorial in its movement, but also in its editing and its editing for narrative effect in that the romantic becomes erotic suspence as the scenes are interwoven thematiclly, as her desire becomes increasingly romantic. Erotic availability has opened as a prefiguration of an enlightenment, as though she were seeking a path to sexual reawakenings only to reaquaint herself with their stirrings. And yet, as speaking subject that conveys both the imaginary and the imagined, her astonishment at her own desire can only be sensed, it belonging to her inner life, it being an astonishement that would only intensify, a a freeing of sexual liscence, a personalization of the ideals of femininity.
     On film, her body pivoted again during the shot, slowly and slightly toward the camera. The bottom of the frameline gradually lowers before cutting to its reverse angle to begin the pan over from below her breasts  to below her omphalos, as though it were trying to hover from her bellybutton to the top horizon line of where her pubic hair began without noticebly pushing in to simultaneously zoom or without privoting into a prolonged circular pan, which it then unexpectedly does untill bringing the shot to where it could cut to its original frameline and begin panning down again from below her breasts. Temporally it is a double filming, or reframing, of the same moment while spatially it is the same action from another angle, a duplicate from another vantage point.
     Her screen direction as figure in movement, in that she has not yet decided to retrace her steps, has established spatial positions in relation, relations not entirely angular, relations not entirely undecided upon by the speed of action and the theatrical pauses on her part before her beginning to cross the set toward the camera. As there is similarity of metaphor, contiguity of metronomy, the possible absence of her reversing screen direction during the scene brings a right to left continuity, although she soon will be to the left of the screen where it seems likely that she will cross one quarter of the width of the screen to the left.
     At that moment, she was thinking of a particular afternoon when she had ran up to him flustered, not lachrymal, but near speachless, and yet to contrast, she was simultaneously remembering an earlier, less excited time when the two had first met, when she may have been looking down at her feet trying to make him notice her legs, the curve of her blue jeans where her hemline would have been, it in comparision having been being a more exhilarating time although she had been coolly at his shoulder, nearing him slowly in calculated motion, there having been something she had wanted to tell him. The voice over retrospective used on screen positions dimension with her nudity, her hurriedly having said, ”I don’t know what to do. I know that you’re going to say, ‘I love you.’”
     Could it be asked if there was some reason he had not yet either arrived or yet telephoned, or whether she was going to meet him somewhere later, seemingly, but not necessarily, that being not untill breakfast the next morning?
     The line of dialouge is used in variation during the second scene of the film during the shot-counter-shot dialougue sequences, her lover referring to the conversation by his saying, ”Everytime you ask me to I will.” to which she replies, ”Hurry.” as to intentionally remind him of their having been together.
     The camera presently pans up slightly faster than the previous shot for half the distance of the height of the shot, untill the bottom of the frame replaces the horizontal center of the shot. Her thoughts flirt with remembering what he had said on several specific, particular occasions and flirt back and forth between her preference to avoid fantasizing about what they hadn’t said to each her, it being casual on her part that she would shrug erotic fantasies off almost as quickly as the came and convince herself that it was more romantic to keep her interaction with him a sentimental, therefore more accurate quickening of memory, and between what she would want to say to him the next time they would see each other, not like he would as though it almost were similar to it being necessary to save a planned shot in a game of pool or billiards and or anticipating his next move after nearly opening with the knight in hope of quickly bringing it back toward the queen, but more in a sense of her know to herself that could be inquired about by him that could create their being together simultaneously, in that he was someone she thought she couldn’t know but did. Whether or not his voice is used in the film, it is in juxtaposition to the camera panning up, but only because she has every desire that it would be, that it is something that later collapses and something that makes her desire that things happen faster, that whatever could be watching her when as nudity increase it speed smoothly, ”Including being a sentence with this part of speech, had you said including. I need you.”
     There is an orientation of space as erotic spontaneity and as erotic aquiescence as the camera waits to accomaodate her each and every movement. The soft flesh of the oval of the inside of her thighs is only hinted at within the shot. The areas lof her body that tare followed by the viewfinder within the frameline are contiguous, as are the spaces through which she moves. There is a mobility of frame from the panning, the specator positioned by the continuity of form to the individual images and spaces not only untill the camera begins tracking during the shot, but later with each difference of angle and distance as it is following her, whether its movemnts are obtrusive or not whether they are imperceptible or not. It holds briefly, almost out of necessity during another abrupt inclusion of a retrospective voice over narrative: within its autonomy, it is almost questioning and yet, in that she has not spoken during the entire scene, the effect of each instance of sound being a break from the silence is different than it will later be when she finally brings it into the development of the scene’s plot, whether it is her making a telephone call or her going to the door in her bathrobe to greet him after he has let himself in, if in fact she is not in fact nude in bed, or in the shower when he arrives. In that the voice overs are non-diegetic, they are placed within the editing arbitrarily and have a specific effect aestheticly that is not contingent upon the action of the scene, but rather the director’s editing. The sounds used in the film to this point are minimal, objects seperated from her touch by the spaces between her and them.
     ”It’s only a cough drop. I wanted to kiss you and don’t like menthol or peppermint.”
     ”A coughdrop?”, her tone being that of suprise. ”I wouldn’t have thought of that. You talked me into it.”
 
 

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

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From: scottlordnovel <noreply@google.com>
Date: Wed, Mar 16, 2011 at 1:34 PM
Subject: [scottlordnovel] Inga's Veil, Evening erotic novel, film poem page five was updated
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Scott Lord updated the page Inga's Veil, Evening erotic novel, film poem page five. View the changes below.

Color key: Insertion | Deletion

     Within the syntax of the film, the camera pans down, not solemly, or dolefully, but very slowly as though reserved, as though it could contruct a way to be seen by her, lavishing its downward plunge upon her stillness waiting for her figure to elegantly, almost thoughtfully, vary its postition and it being to no avail in that if she were to be seen in movement it would not be by a camera she could acknowlege having seen, it now a camera reluctant to release her glance as she remained unaware of its vigilance, it as though paradoxical it being that she was waiting for him, waiting to be seen by him, that she felt watched by him while waiting, that she longed for it, in supplication that she be watched by him, that, with her body, she articulated the desire to be watched by him, the desire of it as an inevitability. Now that she has undressed, the sense of expectation has shifted from the attraction of her becoming nude, no matter how quickly, to a dialouge that rather than only having the possiblility of adding to plotline, in being interior monolouge and retrospective narrative, it now carrying it, the camera not only authorial in its movement, but also in its editing and its editing for narrative effect in that the romantic becomes erotic suspence as the scenes are interwoven thematiclly, as her desire becomes increasingly romantic. Erotic availability has opened as a prefiguration of an enlightenment, as though she were seeking a path to sexual reawakenings only to reaquaint herself with their stirrings. And yet, as speaking subject that conveys both the imaginary and the imagined, her astonishment at her own desire can only be sensed, it belonging to her inner life, it being an astonishement that would only intensify, a a freeing of sexual liscence, a personalization of the ideals of femininity.
     On film, her body pivoted again during the shot, slowly and slightly toward the camera. The bottom of the frameline gradually lowers before cutting to its reverse angle to begin the pan over from below her breasts  to below her omphalos, as though it were trying to hover from her bellybutton to the top horizon line of where her pubic hair began without noticebly pushing in to simultaneously zoom or without privoting into a prolonged circular pan, which it then unexpectedly does untill bringing the shot to where it could cut to its original frameline and begin panning down again from below her breasts. Temporally it is a double filming, or reframing, of the same moment while spatially it is the same action from another angle, a duplicate from another vantage point.
     Her screen direction as figure in movement, in that she has not yet decided to retrace her steps, has established spatial positions in relation, relations not entirely angular, relations not entirely undecided upon by the speed of action and the theatrical pauses on her part before her beginning to cross the set toward the camera. As there is similarity of metaphor, contiguity of metronomy, the possible absence of her reversing screen direction during the scene brings a right to left continuity, although she soon will be to the left of the screen where it seems likely that she will cross one quarter of the width of the screen to the left.
     At that moment, she was thinking of a particular afternoon when she had ran up to him flustered, not lachrymal, but near speachless, and yet to contrast, she was simultaneously remembering an earlier, less excited time when the two had first met, when she may have been looking down at her feet trying to make him notice her legs, the curve of her blue jeans where her hemline would have been, it in comparision having been being a more exhilarating time although she had been coolly at his shoulder, nearing him slowly in calculated motion, there having been something she had wanted to tell him. The voice over retrospective used on screen positions dimension with her nudity, her hurriedly having said, "I don't know what to do. I know that you're going to say, 'I love you.'"
     Could it be asked if there was some reason he had not yet either arrived or yet telephoned, or whether she was going to meet him somewhere later, seemingly, but not necessarily, that being not untill breakfast the next morning?
     The line of dialouge is used in variation during the second scene of the film during the shot-counter-shot dialougue sequences, her lover referring to the conversation by his saying, "Everytime you ask me to I will." to which she replies, "Hurry." as to intentionally remind him of their having been together.
     The camera presently pans up slightly faster than the previous shot for half the distance of the height of the shot, untill the bottom of the frame replaces the horizontal center of the shot. Her thoughts flirt with remembering what he had said on several specific, particular occasions and flirt back and forth between her preference to avoid fantasizing about what they hadn't said to each her, it being casual on her part that she would shrug erotic fantasies off almost as quickly as the came and convince herself that it was more romantic to keep her interaction with him a sentimental, therefore more accurate quickening of memory, and between what she would want to say to him the next time they would see each other, not like he would as though it almost were similar to it being necessary to save a planned shot in a game of pool or billiards and or anticipating his next move after nearly opening with the knight in hope of quickly bringing it back toward the queen, but more in a sense of her know to herself that could be inquired about by him that could create their being together simultaneously, in that he was someone she thought she couldn't know but did. Whether or not his voice is used in the film, it is in juxtaposition to the camera panning up, but only because she has every desire that it would be, that it is something that later collapses and something that makes her desire that things happen faster, that whatever could be watching her when as nudity increase it speed smoothly, "Including being a sentence with this part of speech, had you said including. I need you."
     There is an orientation of space as erotic spontaneity and as erotic aquiescence as the camera waits to accomaodate her each and every movement. The soft flesh of the oval of the inside of her thighs is only hinted at within the shot. The areas lof her body that tare followed by the viewfinder within the frameline are contiguous, as are the spaces through which she moves. There is a mobility of frame from the panning, the specator positioned by the continuity of form to the individual images and spaces not only untill the camera begins tracking during the shot, but later with each difference of angle and distance as it is following her, whether its movemnts are obtrusive or not whether they are imperceptible or not. It holds briefly, almost out of necessity during another abrupt inclusion of a retrospective voice over narrative: within its autonomy, it is almost questioning and yet, in that she has not spoken during the entire scene, the effect of each instance of sound being a break from the silence is different than it will later be when she finally brings it into the development of the scene's plot, whether it is her making a telephone call or her going to the door in her bathrobe to greet him after he has let himself in, if in fact she is not in fact nude in bed, or in the shower when he arrives. In that the voice overs are non-diegetic, they are placed within the editing arbitrarily and have a specific effect aestheticly that is not contingent upon the action of the scene, but rather the director's editing. The sounds used in the film to this point are minimal, objects seperated from her touch by the spaces between her and them.
     "It's only a cough drop. I wanted to kiss you and don't like menthol or peppermint."
     "A coughdrop?", her tone being that of suprise. "I wouldn't have thought of that. You talked me into it."
 
 

YouTube Video

 
 
 
 
 
 
 
 
 
 
 
 
 

Go to page: Inga's Veil, Evening erotic novel, film poem page five

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

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From: scottlordnovel <noreply@google.com>
Date: Wed, Mar 16, 2011 at 1:34 PM
Subject: [scottlordnovel] Inga's Veil, Evening erotic novel, film poem page five was updated
To: scottlordnovelist@gmail.com

Scott Lord updated the page Inga's Veil, Evening erotic novel, film poem page five. View the changes below.

Color key: Insertion | Deletion

     Within the syntax of the film, the camera pans down, not solemly, or dolefully, but very slowly as though reserved, as though it could contruct a way to be seen by her, lavishing its downward plunge upon her stillness waiting for her figure to elegantly, almost thoughtfully, vary its postition and it being to no avail in that if she were to be seen in movement it would not be by a camera she could acknowlege having seen, it now a camera reluctant to release her glance as she remained unaware of its vigilance, it as though paradoxical it being that she was waiting for him, waiting to be seen by him, that she felt watched by him while waiting, that she longed for it, in supplication that she be watched by him, that, with her body, she articulated the desire to be watched by him, the desire of it as an inevitability. Now that she has undressed, the sense of expectation has shifted from the attraction of her becoming nude, no matter how quickly, to a dialouge that rather than only having the possiblility of adding to plotline, in being interior monolouge and retrospective narrative, it now carrying it, the camera not only authorial in its movement, but also in its editing and its editing for narrative effect in that the romantic becomes erotic suspence as the scenes are interwoven thematiclly, as her desire becomes increasingly romantic. Erotic availability has opened as a prefiguration of an enlightenment, as though she were seeking a path to sexual reawakenings only to reaquaint herself with their stirrings. And yet, as speaking subject that conveys both the imaginary and the imagined, her astonishment at her own desire can only be sensed, it belonging to her inner life, it being an astonishement that would only intensify, a a freeing of sexual liscence, a personalization of the ideals of femininity.
     On film, her body pivoted again during the shot, slowly and slightly toward the camera. The bottom of the frameline gradually lowers before cutting to its reverse angle to begin the pan over from below her breasts  to below her omphalos, as though it were trying to hover from her bellybutton to the top horizon line of where her pubic hair began without noticebly pushing in to simultaneously zoom or without privoting into a prolonged circular pan, which it then unexpectedly does untill bringing the shot to where it could cut to its original frameline and begin panning down again from below her breasts. Temporally it is a double filming, or reframing, of the same moment while spatially it is the same action from another angle, a duplicate from another vantage point.
     Her screen direction as figure in movement, in that she has not yet decided to retrace her steps, has established spatial positions in relation, relations not entirely angular, relations not entirely undecided upon by the speed of action and the theatrical pauses on her part before her beginning to cross the set toward the camera. As there is similarity of metaphor, contiguity of metronomy, the possible absence of her reversing screen direction during the scene brings a right to left continuity, although she soon will be to the left of the screen where it seems likely that she will cross one quarter of the width of the screen to the left.
     At that moment, she was thinking of a particular afternoon when she had ran up to him flustered, not lachrymal, but near speachless, and yet to contrast, she was simultaneously remembering an earlier, less excited time when the two had first met, when she may have been looking down at her feet trying to make him notice her legs, the curve of her blue jeans where her hemline would have been, it in comparision having been being a more exhilarating time although she had been coolly at his shoulder, nearing him slowly in calculated motion, there having been something she had wanted to tell him. The voice over retrospective used on screen positions dimension with her nudity, her hurriedly having said, "I don't know what to do. I know that you're going to say, 'I love you.'"
     Could it be asked if there was some reason he had not yet either arrived or yet telephoned, or whether she was going to meet him somewhere later, seemingly, but not necessarily, that being not untill breakfast the next morning?
     The line of dialouge is used in variation during the second scene of the film during the shot-counter-shot dialougue sequences, her lover referring to the conversation by his saying, "Everytime you ask me to I will." to which she replies, "Hurry." as to intentionally remind him of their having been together.
     The camera presently pans up slightly faster than the previous shot for half the distance of the height of the shot, untill the bottom of the frame replaces the horizontal center of the shot. Her thoughts flirt with remembering what he had said on several specific, particular occasions and flirt back and forth between her preference to avoid fantasizing about what they hadn't said to each her, it being casual on her part that she would shrug erotic fantasies off almost as quickly as the came and convince herself that it was more romantic to keep her interaction with him a sentimental, therefore more accurate quickening of memory, and between what she would want to say to him the next time they would see each other, not like he would as though it almost were similar to it being necessary to save a planned shot in a game of pool or billiards and or anticipating his next move after nearly opening with the knight in hope of quickly bringing it back toward the queen, but more in a sense of her know to herself that could be inquired about by him that could create their being together simultaneously, in that he was someone she thought she couldn't know but did. Whether or not his voice is used in the film, it is in juxtaposition to the camera panning up, but only because she has every desire that it would be, that it is something that later collapses and something that makes her desire that things happen faster, that whatever could be watching her when as nudity increase it speed smoothly, "Including being a sentence with this part of speech, had you said including. I need you."
     There is an orientation of space as erotic spontaneity and as erotic aquiescence as the camera waits to accomaodate her each and every movement. The soft flesh of the oval of the inside of her thighs is only hinted at within the shot. The areas lof her body that tare followed by the viewfinder within the frameline are contiguous, as are the spaces through which she moves. There is a mobility of frame from the panning, the specator positioned by the continuity of form to the individual images and spaces not only untill the camera begins tracking during the shot, but later with each difference of angle and distance as it is following her, whether its movemnts are obtrusive or not whether they are imperceptible or not. It holds briefly, almost out of necessity during another abrupt inclusion of a retrospective voice over narrative: within its autonomy, it is almost questioning and yet, in that she has not spoken during the entire scene, the effect of each instance of sound being a break from the silence is different than it will later be when she finally brings it into the development of the scene's plot, whether it is her making a telephone call or her going to the door in her bathrobe to greet him after he has let himself in, if in fact she is not in fact nude in bed, or in the shower when he arrives. In that the voice overs are non-diegetic, they are placed within the editing arbitrarily and have a specific effect aestheticly that is not contingent upon the action of the scene, but rather the director's editing. The sounds used in the film to this point are minimal, objects seperated from her touch by the spaces between her and them.
     "It's only a cough drop. I wanted to kiss you and don't like menthol or peppermint."
     "A coughdrop?", her tone being that of suprise. "I wouldn't have thought of that. You talked me into it."
 
 

YouTube Video

 
 
 
 
 
 
 
 
 
 
 
 
 

Go to page: Inga's Veil, Evening erotic novel, film poem page five

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

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From: scottlordnovel <noreply@google.com>
Date: Wed, Mar 16, 2011 at 1:34 PM
Subject: [scottlordnovel] Inga's Veil, Evening erotic novel, film poem page five was updated
To: scottlordnovelist@gmail.com

Scott Lord updated the page Inga's Veil, Evening erotic novel, film poem page five. View the changes below.

Color key: Insertion | Deletion

     Within the syntax of the film, the camera pans down, not solemly, or dolefully, but very slowly as though reserved, as though it could contruct a way to be seen by her, lavishing its downward plunge upon her stillness waiting for her figure to elegantly, almost thoughtfully, vary its postition and it being to no avail in that if she were to be seen in movement it would not be by a camera she could acknowlege having seen, it now a camera reluctant to release her glance as she remained unaware of its vigilance, it as though paradoxical it being that she was waiting for him, waiting to be seen by him, that she felt watched by him while waiting, that she longed for it, in supplication that she be watched by him, that, with her body, she articulated the desire to be watched by him, the desire of it as an inevitability. Now that she has undressed, the sense of expectation has shifted from the attraction of her becoming nude, no matter how quickly, to a dialouge that rather than only having the possiblility of adding to plotline, in being interior monolouge and retrospective narrative, it now carrying it, the camera not only authorial in its movement, but also in its editing and its editing for narrative effect in that the romantic becomes erotic suspence as the scenes are interwoven thematiclly, as her desire becomes increasingly romantic. Erotic availability has opened as a prefiguration of an enlightenment, as though she were seeking a path to sexual reawakenings only to reaquaint herself with their stirrings. And yet, as speaking subject that conveys both the imaginary and the imagined, her astonishment at her own desire can only be sensed, it belonging to her inner life, it being an astonishement that would only intensify, a a freeing of sexual liscence, a personalization of the ideals of femininity.
     On film, her body pivoted again during the shot, slowly and slightly toward the camera. The bottom of the frameline gradually lowers before cutting to its reverse angle to begin the pan over from below her breasts  to below her omphalos, as though it were trying to hover from her bellybutton to the top horizon line of where her pubic hair began without noticebly pushing in to simultaneously zoom or without privoting into a prolonged circular pan, which it then unexpectedly does untill bringing the shot to where it could cut to its original frameline and begin panning down again from below her breasts. Temporally it is a double filming, or reframing, of the same moment while spatially it is the same action from another angle, a duplicate from another vantage point.
     Her screen direction as figure in movement, in that she has not yet decided to retrace her steps, has established spatial positions in relation, relations not entirely angular, relations not entirely undecided upon by the speed of action and the theatrical pauses on her part before her beginning to cross the set toward the camera. As there is similarity of metaphor, contiguity of metronomy, the possible absence of her reversing screen direction during the scene brings a right to left continuity, although she soon will be to the left of the screen where it seems likely that she will cross one quarter of the width of the screen to the left.
     At that moment, she was thinking of a particular afternoon when she had ran up to him flustered, not lachrymal, but near speachless, and yet to contrast, she was simultaneously remembering an earlier, less excited time when the two had first met, when she may have been looking down at her feet trying to make him notice her legs, the curve of her blue jeans where her hemline would have been, it in comparision having been being a more exhilarating time although she had been coolly at his shoulder, nearing him slowly in calculated motion, there having been something she had wanted to tell him. The voice over retrospective used on screen positions dimension with her nudity, her hurriedly having said, "I don't know what to do. I know that you're going to say, 'I love you.'"
     Could it be asked if there was some reason he had not yet either arrived or yet telephoned, or whether she was going to meet him somewhere later, seemingly, but not necessarily, that being not untill breakfast the next morning?
     The line of dialouge is used in variation during the second scene of the film during the shot-counter-shot dialougue sequences, her lover referring to the conversation by his saying, "Everytime you ask me to I will." to which she replies, "Hurry." as to intentionally remind him of their having been together.
     The camera presently pans up slightly faster than the previous shot for half the distance of the height of the shot, untill the bottom of the frame replaces the horizontal center of the shot. Her thoughts flirt with remembering what he had said on several specific, particular occasions and flirt back and forth between her preference to avoid fantasizing about what they hadn't said to each her, it being casual on her part that she would shrug erotic fantasies off almost as quickly as the came and convince herself that it was more romantic to keep her interaction with him a sentimental, therefore more accurate quickening of memory, and between what she would want to say to him the next time they would see each other, not like he would as though it almost were similar to it being necessary to save a planned shot in a game of pool or billiards and or anticipating his next move after nearly opening with the knight in hope of quickly bringing it back toward the queen, but more in a sense of her know to herself that could be inquired about by him that could create their being together simultaneously, in that he was someone she thought she couldn't know but did. Whether or not his voice is used in the film, it is in juxtaposition to the camera panning up, but only because she has every desire that it would be, that it is something that later collapses and something that makes her desire that things happen faster, that whatever could be watching her when as nudity increase it speed smoothly, "Including being a sentence with this part of speech, had you said including. I need you."
     There is an orientation of space as erotic spontaneity and as erotic aquiescence as the camera waits to accomaodate her each and every movement. The soft flesh of the oval of the inside of her thighs is only hinted at within the shot. The areas lof her body that tare followed by the viewfinder within the frameline are contiguous, as are the spaces through which she moves. There is a mobility of frame from the panning, the specator positioned by the continuity of form to the individual images and spaces not only untill the camera begins tracking during the shot, but later with each difference of angle and distance as it is following her, whether its movemnts are obtrusive or not whether they are imperceptible or not. It holds briefly, almost out of necessity during another abrupt inclusion of a retrospective voice over narrative: within its autonomy, it is almost questioning and yet, in that she has not spoken during the entire scene, the effect of each instance of sound being a break from the silence is different than it will later be when she finally brings it into the development of the scene's plot, whether it is her making a telephone call or her going to the door in her bathrobe to greet him after he has let himself in, if in fact she is not in fact nude in bed, or in the shower when he arrives. In that the voice overs are non-diegetic, they are placed within the editing arbitrarily and have a specific effect aestheticly that is not contingent upon the action of the scene, but rather the director's editing. The sounds used in the film to this point are minimal, objects seperated from her touch by the spaces between her and them.
     "It's only a cough drop. I wanted to kiss you and don't like menthol or peppermint."
     "A coughdrop?", her tone being that of suprise. "I wouldn't have thought of that. You talked me into it."
 
 

YouTube Video

 
 
 
 
 
 
 
 
 
 
 
 
 

Go to page: Inga's Veil, Evening erotic novel, film poem page five

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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
To: scottlordnovelist@gmail.com

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

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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.

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 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.
 
 

Go to page: Inga's Veil, Evening, erotic novel, film poem page six

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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
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 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.
 
 

Go to page: Inga's Veil, Evening, erotic novel, film poem page six

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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
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 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.
 
 

Go to page: Inga's Veil, Evening, erotic novel, film poem page six

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Jennifer, I was a little hung up on you before this happened

Let’s Go Deeper and write novels.

I wrote to her and said ”You have beautiful eyes”

I can’t deny it- she has me, I’m over my head, which is why I haven’t seen her, but she’s someone I can’t avoid.

What do I think: she could have a married man at work, which is tricky. What do I feel: her father’s a Rector it can still work between us, if I can make it through most of the impossibilities. If she’s an artist, its as a singer, so there goes the theory of two writers that become inseperable.

Yesterday’s Post:

Its just made the next configuration. The last thing I read aloud in this room was,

”No nightingale. Look, love, what envious streaks
Do lace the severing clouds in yonder East”
Untill,
”How is it my soul? Let’s talk,it is not day.”

The true configuration is love in the universe as both physical and intellectual.

Well of course you would only read that aloud like The Lord’s Prayer if you wanted to go tto bed with someone. Jill hasn’t called me, and I wrote on the note that she call untill 1:00 am.
So I went to see if she was there, which she was not. So I told their director what happened and he tacitly gave approval to keep the film and possibly film inside the church again. Jill doesn’t know, nor does she need to know, that I began filming in churches after what happenned-didn’t happen with Jen. She sings, her choice is to sing hymns. I write, I prefer 19th century poets, but can breastroke through 20th, provided there is the principle of visual art behind it, modern art if necessary. And Jill looks like Jen- spitting image, a couple years younger. Watch their Christianity with becoming involved in it and maybe not talk about my poetry. Jill looks like Jen, so I got the idea to ask Jen if I could interview her on camera about whether it was irreligious to film their, I’d rather say her, altar (Altar in Greek is Mensa, by the way,try to remember). I went back to ask her again while she was sweeping if recording her sing in rehearsal before the service was more polite or acceptable that actually during the service, and I really do see why you wouldn’t roll a camera during the ”homily”. She said to ask permission from the organist, which is very well brought up on her part. She may have been very well brought up.
Which brings us back to what Jen doesn’t know. There are two go-betweens older than myself, one that I could see the town with in away, but as you know, there’s never been anyone older, and the other I met the first time I ever touched the world wide web, literally while getting engaged and honestly where I met my ex-wife in 1996. So remember, The Rink, with Charlie Chaplin was the first video published on the internet in 1996- so I don’t know if I’m still married or if my old friend that let me use her computer had mentioned to Jen that I ever was, or that I might have been going back to the spot where our first kiss was.
To add to it, I thought Jen didn’t want to talk to me, she left in the middle of the service. So I stopped attending and went to film religious music as a way to write poerty. So the old freind is my guest of honor while filming on my computer, not the computer I used when I met my ex-wife or while I was with her and the church that I filmed since I last saw Jen wrote to You Tube to have their evangelical service removed (their like the old Vineyard services, nondenominational) I explained to Jen where I was, softly, almost nearing to say that I began filming church music after feeling passionately towards her and that if I could I would apologize for perceiving that she didn’t want to talk to me- I had only seen her twice in a way, although she’s always there.
I asked her if she wanted to go to the poetry reading tonight. Second time I’ve talked to her. I didn’t think of it untill then, I thought it more likely that I see Jill earlier.
I remembered during it that Jen had told me that you don’t have to cook green peppers. They don’t do anything for you, but you can have them late at night- I don’t think its the green pepper itself, (you can’t really get off on them; the old timer that was there asked what my interest in the clock was without my having to tell him I didn’t have enough mechanical drawing to make up cabinets).
Ok, I took off on Jen because she’s not-impossible-she, unattainable but implausibly not yet thought to be unavailable. Too beautiful to say no to is one clique, but think-worship only that which you are fond of. Ok, Jill’s just as lofty and I gave her my number.
But I really went back to see her- i wanted to. The first time I talked with her it took minutes before I asked if I could see her the next day; oh believe me I stared through God thoughout the entire service like you couldn’t see him and there was a pair of blue eyes on the other end of the ailse. Tonight i asked her if she wanted to go to the poetry reading almost during the middle of a sentence. She replied that tonight she couldn’t. She doesn’t wear a ring and I never lifted weights while I had mine on, cool enough.
I left out that I told Jill she was on You Tube and she could look my work up before the ”establishment came down on me.” I wasn’t her. I’m certain that it was not- she’s that type of pretty where it probably wasn’t and I have polite church approval in that building. I’d rather have her evesdrop and know I want her if she’s out of town.

How did I walk out on Jen when I had the strength? I still only call her Jennifer.

Scott Lord