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Ted Nannicelli

Kovács, also explores the effects fostered by a specific formal device of cinema—in this case, shot-scale. And again, distinct research methods are put to complementary use. Raz and colleagues’ starting point is a desire to empirically test a hypothesis

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Stephen Prince

and shot scales that Mann and his cinematographers employed and compares these with all other films that Mann directed in the 1950s. Roggen also compares Mann’s work with a sample of thirty-one CinemaScope films made in this period in order to place

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Vittorio Gallese and Michele Guerra

debate around experiments on film is sometimes quite hot. Despite the delimitation of the field for empirical investigation (camera movements, editing, cinematic shot-scales, affective responses, etc.), a lab is still not a movie theatre, and participants