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.
James E. Cutting, Kaitlin L. Brunick, and Jordan DeLong
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.
Notes on the Ethics of Observational Documentary
I take these techniques as acknowledgments in Stanley Cavell's sense of the word: ethical responses to the women they filmed, acts of solidarity with them. This may give us more charitable ways of reading some of the pronouncements of the brothers
Finbarr Barry Flood and Jaś Elsner
with an actual snuff movie in the video-disseminated beheading of Khaled al-Asaad, the site’s octogenarian archaeologist. This was followed by a series of filmed acts of iconoclasm in which one world-famous monument after another was destroyed. A number
The Full Monty (Peter Cattaneo, 1997)
Biressi put it: “ The Full Monty' s literal revelation [is] that entrepreneurial inventiveness can overcome all obstacles[.] The [film acts] as a riposte to the stereotype of the ‘underclass’ as passive and outmoded. But at the same time, [it implies] that