Welcome to the first issue of our first three-issue volume of Projections. We begin this issue with a truly exciting collaboration between a filmmaker (and
scholar), Karen Pearlman, and a psychologist, James E. Cutting. Cutting and Pearlman analyze a number of formal features, including shot duration, across successive cuts of Pearlman’s 2016 short film, Woman with an Editing Bench.
They find that the intuitive revisions that Pearlman made actually track a progression toward fractal structures – complex patterns that also happen to
mark three central pulses of human existence (heartbeat, breathing, walking).
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