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James E. Cutting and Ayse Candan

This article investigates historical trends of mean shot durations in 9,400 English-language and 1,550 non-English-language movies released between 1912 and 2013. For the sound-era movies of both sets there is little evidence indicating anything other than a linear decline plotted on a logarithmic scale, with the English-language set providing stronger results. In a subsample of 24 English-language movies from 1940 to 2010 the decline in shot duration is uniform across 15 shot classes, a result that supports a broad “evolutionary” account of film change. The article also explores the proportions of these shot classes across years and genres, with the results showing that 25 percent of the decline in shot duration is due to a shift away from shot classes with longer-than-average shot durations towards those with shorter-than-average durations, and 8 percent of the decline is due to the increased use of shot scales in which characters appear larger.

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Rainer Reisenzein

) what the specific inputs were in the given case or class of cases. Answering the first question is the task of psychology (including cognitive neuroscience, which is simply a special brand of psychology that relies heavily on measurements of the neural

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Torben Grodal

watch (the symbol of her attachment to “the upper-class other”), but the watch strap breaks and Hans falls. ANGER-and PANIC-related arousal is replaced by CARE in bonds between John and Holly and John and Al, who even overcomes his fear of shooting and

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Philip Cowan

him from the steps of her apartment, literally looking down on him. The other example from Dead End shows the high-class Kay (Wendy Barrie) being appalled by the living conditions of the lower-class Dave (Joel McCrea). Again, their positioning and

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Wyatt Moss-Wellington

and distrust” (17). But is this technique really so seriously sublime, to tell a majority of people that their lives are drab, alienated, and impotent, to lampoon the everyday of an imagined class of unenlightened “suburban-megalopolis” constituents by

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Dan Flory

for Variety observed that Griffith “knew just what kind of a picture would please all white classes” ( Vance [1915] 1994: 174 ). White American moviegoers overwhelmingly felt disgust and outrage at Gus’s lustful pursuit of Flora as well as

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Johannes Riis

, true to comedy, whereas the second part points toward the emotionally gripping performances of Bergman’s chamber films of the 1960s. The exchange I examine here is four minutes long. 1 The scene centers on two upper-class wives whose men are courting

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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

to each other, its recurrent dialogue, simultaneously witty and banal, reveals the cruel and bitter relationship between different groups of provincial identities and social classes. Balancing dramatic ambiguity with deadpan humor, the film also

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Mario Slugan

; it is certainly broader than the class of automatic reproductions Bazin focuses on. Proper names, for instance, are not automatically assigned but given. For Peirce the existence of an index simply guarantees the existence of what it is an index of

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Andreas Baranowski and Heiko Hecht

. London : Wallflower Press . Faraday , Michael . 1831 . “ On a Peculiar Class of Optical Deceptions .” Journal of the Royal Institute of Great Britain 1 : 205 – 223 . Finlay , David J. , and Peter Dodwell . 1987 . “ Speed of Apparent Motion and