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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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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

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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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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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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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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