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Questions of Authorship

Some Comments on David Bordwell’s Narration in the Fiction Film

Paisley Livingston

In a review of Narration in the Fiction Film published in Film Quarterly in 1986, Sarah Kozloff complained that David Bordwell’s approach to authorship in this book was “rather misanthropic.” More specifically, her complaint was that he

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Sam Roggen

for “more confined drama.” It is remarkable that the increase in the use of the very long shot in Mann’s CinemaScope films does not necessarily imply a decrease in closer shots. David Bordwell (2005: 27 ; 2007: 288 ) has demonstrated how CinemaScope

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Christopher Blake Evernden, Cynthia A. Freeland, Thomas Schatz, and Frank P. Tomasulo

Pleasurable Fear . New York : Routledge . Kristeva , Julia . 1980 . Powers of Horror: An Essay on Abjection . New York : Columbia University Press . David Bordwell, Reinventing Hollywood: How 1940s Filmmakers Changed Movie Storytelling

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Brian Boyd

worthwhile as a tribute to David Bordwell. The second was that we were asked to offer challenges, and not mere panegyric. That was much harder; and if I do lumber into challenge, it’s only because I am meekly obliging. I can still see the shelves in the big

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Putting the Culture into Bioculturalism

A Naturalized Aesthetics and the Challenge of Modernism

Dominic Topp

Vision.” In Post-Theory: Reconstructing Film Studies , ed. David Bordwell and Noël Carroll , 87 – 107 . Madison : University of Wisconsin Press . Lutz , Catherine A. 1988 . Unnatural Emotions: Everyday Sentiments on a Micronesian Atoll and

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Ted Nannicelli

accommodate wide-format films, shot in 65 mm or 70 mm, the aspect ratios of which might be 2.20:1 or 2.35:1. Therefore, as David Bordwell (2015) documents, even today cable television stations such as IFC and streaming services such as Netflix provide

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The Cine-Fist

Eisenstein’s Attractions, Mirror Neurons, and Contemporary Action Cinema

Maria Belodubrovskaya

response to fictional characters and their situations do not amount to empathy, and some are produced via the fast simulation route rather than through appraisal. Both Plantinga and David Bordwell use the term “modular” to describe such cases. For Plantinga

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Andreas Baranowski and Heiko Hecht

, David Bordwell published Narration in the Fiction Film . This book did for film studies what Ulric Neisser’s Cognitive Psychology (1967) did for psychology. It concentrated existing knowledge and proposed a holistic framework that was logical and

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

structures. Dedramatization is perceived as a fundamental feature of art films, but it encompasses diverse variations that have not been exhaustively theorized. According to David Bordwell, there are two distinctive forms of dedramatization: on the one hand

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Disrupted PECMA Flows

A Cognitive Approach to the Experience of Narrative Complexity in Film

Veerle Ros and Miklós Kiss

surprising that it has drawn a great deal of scholarly interest. 1 While theorists such as David Bordwell and Kristin Thompson (2013: 53) assess the development as no more than the “complication” of what is essentially still a classical system of narration