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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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William Brown

David Bordwell (2002) has described contemporary mainstream cinema as a cinema of intensified continuity. When we combine Bordwell's analysis with that of recent cognitive work on attention, especially with work on edit blindness, we discover some intriguing results. For example, the increased rate of cutting in contemporary cinema serves to keep our attention continually aroused, but, at the same time, that which arouses our attention—the increased number of cuts—becomes decreasingly visible. That is, the greater the number of cuts made in the services of continuity editing, the less we are able to spot them. If, while watching contemporary mainstream cinema, the attention of viewers is aroused but viewers are decreasingly capable of spotting the reasons why this is so (i.e., the cuts themselves), then does this also serve to make contemporary mainstream cinema “post-ideological,” because it concerns itself only with “intensified” experiences? Or, as this article argues, does the sheer speed of contemporary mainstream cinema renew the need for the ideological critique of films?

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Malcolm Turvey

The articles that follow were originally presented at a symposium celebrating the thirtieth anniversary of the publication of David Bordwell’s Narration in the Fiction Film . 1 The symposium was the closing plenary session at the Society for

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Stephen Prince

David Bordwell’s Narration in the Fiction Film is one of the groundbreaking books in film and narrative theory, and it has been thirty years since its original publication. We begin this issue with a symposium marking that book’s importance

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Ted Nannicelli

thematically organized: we have a pair of reviews on two novel books on Hollywood cinema—David Bordwell's Reinventing Hollywood and Todd Berliner's Hollywood Aesthetic— and another pair of reviews on book-length explorations of contemporary horror films by

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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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Janet Staiger

and postulates what goes on for that person. He “assumes a mentally active and engaged spectator, one who performs cognitive work” (4). While Berliner does not quote David Bordwell here (although he relies on him heavily throughout his book), Berliner

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Perspectives on Cinema and Comics

Adapting Feature Films into French-Language Comics Serials during the Post-war Years

Alain Boillat

, the Fort Bravo pages exclude the love affair that nonetheless constitutes, as David Bordwell has shown, one of the two plot lines that characterise classical Hollywood cinema. 13 Western comics, aimed at a young and mostly male readership, focus on