Search Results

You are looking at 1 - 6 of 6 items for :

  • Refine by Access: All content x
  • Refine by Content Type: All x
Clear All Modify Search
Restricted access

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.

Free access

Ted Nannicelli

analyze a number of formal features, including shot duration, across successive cuts of Pearlman's 2016 short film, Woman with an Editing Bench. They find that the intuitive revisions that Pearlman made actually track a progression toward fractal

Restricted access

Shaping Edits, Creating Fractals

A Cinematic Case Study

James E. Cutting and Karen Pearlman

cinematic rhythm? In other words, could it be that the patterns of events, emotions, and images correlate with the patterns in the physical material of a composed film—its shot durations, motion, luminance, clutter, and sound amplitude? This article tests

Restricted access

Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi

's theorizing of his own film practice to suggest that rhythm results not from any single temporal element of film style (e.g., shot duration), but from the relationship between a number of stylistic parameters: dialogue, sound effects, music, figure movement

Restricted access

Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács

from Movie Structure to Emotion Judgments and Back .” Attention, Perception, & Psychophysics 78 ( 3 ): 891 – 901 . 10.3758/s13414-015-1003-5 Cutting , James E. , and Ayse Candan . 2015 . “ Shot

Restricted access

Gary Bettinson

Special Edition DVD, Warner Home Video, 2006. 4 The final shot of Just Tell Me What You Want (1980), for instance, privileges the performances of Ali MacGraw and Alan King as they converse in a hospital room; the shot's duration is 4.1 minutes. Four