According to directors and directors of photography choosing the appropriate shot scale for a scene is primarily an issue of narrative function. However, especially in the practice of art cinema preference of specific shot scales may be an important indicator of a particular style. In some cases statistical analysis of overall shot scale distribution in films reveals consistent and recurrent patterns of shot scale distribution in an author's work. Such a consistency is surprising, because it cannot be the result of conscious decision. No filmmaker plans the proportion of each shot scale in a film. This article investigates a systematic variation of shot scale distribution (SSD) patterns disclosed in the films of Michelangelo Antonioni, and Ingmar Bergman, which raises a number of questions regarding the possible aesthetic and cognitive sources of such a regularity.
András Bálint Kovács
Gal Raz, Giancarlo Valente, Michele Svanera, Sergio Benini, and András Bálint Kovács
shot-scale distribution is a measure representing the overall presence of a given shot-scale in the entire film expressed as a percentage of the entire playing time of the film (see Kovács 2014 ). The dominance of closer or wider shots in a film may