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James E. Cutting, Kaitlin L. Brunick, and Jordan E. Delong

Cinematic tradition suggests that Hollywood films, like plays, are divided into acts. Thompson (1999) streamlined the conception of this largescale film structure by suggesting that most films are composed of four acts of generally equal length—the setup, the complicating action, the development, and the climax (often including an epilog). These acts are based on the structure of the narrative, and would not necessarily have a physical manifestation in shots and transitions. Nonetheless, exploring a sample of 150 Hollywood style films from 1935 to 2005, this article demonstrates that acts shape shot lengths and transitions. Dividing films into quarters, we found that shots are longer at quarter boundaries and generally shorter near the middle of each quarter. Moreover, aside from the beginnings and ends of films, the article shows that fades, dissolves, and other non-cut transitions are more common in the third and less common in the fourth quarters of films.

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James E. Cutting, Kaitlin L. Brunick, and Jordan DeLong

This is an amendment to the article "How Act Structure Sculpts Shot Lengths and Shot Transitions in Hollywood Film" by the same authors published in Projections 5(1), summer 2011.

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Laura T. Di Summa-Knoop

distinguish themselves precisely because they introduce new features or because they play at the edge of genres, works such as Errol Morris’s documentaries or the recently awarded Get Out (Jordan Peele, 2017). Contra-standard features have the ability, when

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Welcome to “Planet Porno”

Masculinity, Sexuality, and Fitness Doping

Jesper Andreasson and Thomas Johansson

hypermasculinities and men's exhibiting of violent behavior ( Bach 2005 ; Christiansen 2018 ; Denham 2008 ; Jordan-Young and Karkazis 2019 ). This might be particularly true in the Swedish context, in which this study is situated. Already in the late 1980s, for

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Andreas Baranowski and Heiko Hecht

Sound 49 ( 3 ): 164 – 167 . Cook , David A. 2004 . A History of Narrative Film . 4th ed. New York : W. W. Norton & Company . Cutting , James E. , Jordan E. DeLong , and Christine E. Nothelfer . 2010 . “ Attention and the Evolution of

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David Bordwell

hear or see a character narrating the story without any sense that somebody within the story world is listening. Jerry Maguire opens his film talking to us, with his voice explaining his motives and his career trajectory. Jordan Belfort in The Wolf of

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Dan Flory

. Griffith’s The Birth of a Nation .” Pp. 250 – 293 in The Birth of a Nation , ed. Robert Lang . New Brunswick, NJ : Rutgers University Press . Schnall , Simone , Jonathan Haidt , Gerald L. Clore , and Alexander H. Jordan . 2008

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Brian Bergen-Aurand

This issue acknowledges the work of Rosalie Fish (Cowlitz), Jordan Marie Daniels (Lakota), and the many others who refuse to ignore the situation that has allowed thousands of Indigenous women and girls to be murdered or go missing across North America without the full intervention of law enforcement and other local authorities. As Rosalie Fish said in an interview regarding her activism on missing and murdered Indigenous women and girls (MMIWG),

"I felt a little heavy at first just wearing the paint. And I think that was . . . like my ancestors letting me know . . . you need to take this seriously: “What you’re doing, you need to do well.” And I think that’s why I felt really heavy when I first put on my paint and when I tried to run with my paint at first. . . . I would say my personal strength comes from my grandmas, my mom, my great grandma, and I really hope that’s true, that I made them proud." (Inland Northwest Native News interview)

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Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

) and Ace Ventura (Tom Shadyac, 1994), the highly problematic trans character in Dallas Buyers Club (Jean-Marc Vallée, 2013), and the less exploitative but nonetheless problematic trans characters in The Crying Game ( Neil Jordan, 1992 ), The

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Shaping Edits, Creating Fractals

A Cinematic Case Study

James E. Cutting and Karen Pearlman

to Emotion Judgments and Back .” Attention, Perception, & Psychophysics 78 ( 3 ): 891 – 901 . doi: 10.3758/s13414-015-1003-5 . 10.3758/s13414-015-1003-5 Cutting , James E. , Kaitlin L. Brunick , Jordan E. DeLong , Catalina Iricinschi