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as disruptive, is now considered conventional. Bordwell (1985: 153) discusses the interaction of narrative conventions with a film’s internal narrative system in more detail. He posits that a film can establish its own intrinsic norms that may or

terms of problems and solutions and in terms of norms, tasks, and constraints faced by the agent of an artistic choice ( Bordwell 1997: 149–157 ; Carroll 1993 ). Kuleshov’s experiment with Mozzhukhin may at times have served as “an ink-blot test out of

sometimes refers to as its “production value.” From a purely monetary standpoint, Hollywood values style more than story. Let us therefore try to understand the aesthetic pleasures afforded by Hollywood's stylistic norms. First and foremost, Hollywood film

season progresses. 16 Even more intriguing would be to examine how different television series compare to one another along these lines. A likely hypothesis is that different series develop their own intrinsic norms for their balance between episodic

’s conception of multiple instance artworks as “norm-kinds” is correct (1980: 58). In saying this, I don’t mean to make any particularly contentious ontological commitments. Rather, I simply want to take, as given, the intuitive idea that whatever multiple

need to be situated in relation to some clearly articulated norms. Helpful in this regard is a definition of pro-environmental filmmaking that clarifies the nature of the effective intentions that filmmakers must have if their claims to be engaged in

murmur. Although it is customary for sound mixers to prioritize dialogue on the soundtrack, the representation of Alice's attentional focus on the word knife goes beyond such norms, not only conveying her underlying sense of guilt and anxiety about the

thinking of objections, but will likely find that Hanich has also considered them and eventually addresses them in the book. Indeed, he most often develops subcategories for phenomena outside the norms he has established, arguing for their meaning against

of Jenefer Robinson. Shot composition and editing, as well as scene blocking, are discussed as they affect the way viewers interpret characters’ emotions. And references to film style and cultural norms are used to explain the film’s distinctive

such shot patterns ( T. Smith and Henderson 2008 ). Film-experienced viewers might therefore not consciously perceive those cuts due to the attention-guiding mechanisms of skilled filmmakers, but also due to our habituation to certain filmic norms of