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Jaakko Seppälä

Aki Kaurismäki's feature-length fictional films are often discussed as a stylistically homogenous group. Because critics have looked for similarities, they have neglected differences among the films. This article tests prevailing arguments about the cinematographic style of Kaurismäki's films in a quantitative analysis of shot lengths, camera movements, reverse angles, point of view shots, and shot scales. The analysis indicates significant similarities and changes among the films and differentiates between notable stylistic trends. The results of the study complicate existing claims about Kaurismäki's style. Mismatches between impression and fact are explained by analyzing the parts of Kaurismäki's style that “stand out” and the reasons why they do so.

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Sam Roggen

’s quantitative methods for analyzing film style, it examines these stylistic parameters in all of Mann’s films from the 1950s, as well as in a comparison sample of thirty-one CinemaScope films, in order to situate his individual treatment of them within the

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How Motion Shapes Thought in Cinema

The Embodied Film Style of Éric Rohmer

Maarten Coëgnarts

; Fingerhut and Heimann 2017 ; Hven 2017 ; and Kiss and Willemsen 2017 ). One specific point of concern has been the extent to which film style is embodied. From the creative side, there are those who draw heavily on George Lakoff and Mark Johnson's (1980

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Functional Elements of the Moving Image

Philip Cowan

those who gave constructive feedback on those occasions. Carroll's Functional Theory of Film Style In Engaging the Moving Image , Carroll makes “An Argument for a Functional Theory of Style in the Individual Film” (2003). He states that films are

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Elliott Logan

Adrian Martin, Mise en Scène and Film Style: From Classical Hollywood to New Media Art, Palgrave Close Readings in Film and Television (Basingstoke: Palgrave Macmillan, 2014), xviii + 235 pp., £60 (hardback).

John Gibbs, The Life of Mise-en-Scène: Visual Style and British Film Criticism, 1946–78 (Manchester: Manchester University Press, 2013), viii + 280 pp., £65 (hardback).

Lucy Fife Donaldson, Texture in Film, Palgrave Close Readings in Film and Television (Basingstoke: Palgrave Macmillan, 2014), ix + 194 pp., £55 (hardback).

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Patrick Colm Hogan

Perhaps the most common activity of film critics is interpretation. However, cognitive film theorists have sometimes expressed skepticism over the value of interpretation, perhaps particularly with respect to film style. In connection with this, cognitive critics have tended to stress the function of style in facilitating the communication of narrative information. The purpose of this article is to clarify what constitutes the interpretation of style. The opening section discusses what prompts interpretation and what its main purposes are. The article then considers how style may be understood as contributing to those purposes, beyond conveying narrative information. The second section goes on to illustrate these points through an examination of Bimal Roy's Sujata. This section argues that Roy uses staging in depth and graphic matches to advance a critique of untouchability. In formulating this critique, Roy draws on culturally particular ideas from Hindu metaphysics, integrating these with visual techniques that rely on universal human interests and propensities. The analysis of Roy's film illustrates how a cognitive interpretation of style might be developed. It also suggests that cognitive and cultural analyses may be integrated in ways that are productive for our understanding and appreciation of individual works.

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Edited by Stephen Prince

many degrees of freedom to viewers in constructing their experiences in personal and often idiosyncratic ways. We close this issue with a review essay on three books about film style and mise-en-scène, which the reviewer, Elliott Logan, finds offer a

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Stephen Prince

Mann’s treatment of space in the widescreen frame in the broader context of film style as found in that era’s ’scope productions. Many films feature morally flawed characters offered as heroes or protagonists. To what extent do viewers disengage their

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Ted Nannicelli

“theory”; rather, he notes, his analysis makes clear that it predicts but does not demonstrate how viewers experience the embodied film style his article describes. That task, he notes, would need to be achieved by additional empirical work that would test

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Film Studies and Analytic Aesthetics in Dialogue

Mario Slugan and Enrico Terrone

topics: Filippo Contesi focuses on the horror genre, Melenia Arouh discusses the form/content distinction, Philip Cowan discusses the notion of film style, and Laura Di Summa investigates the domain of film criticism. This special issue has its roots in