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James E. Cutting, Kaitlin L. Brunick and Jordan E. Delong

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James E. Cutting, Kaitlin L. Brunick and Jordan E. Delong

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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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Ira Konigsberg

Well, here we are, starting our fifth year of publication and things seem to be going smoothly enough. Ever developing (we are never satisfied), we bring you something new with this issue, an approach that might further our understanding of cinema and the way it affects us as viewers. The field is “cinemetrics” and though some form of it has been around since the 1970s, the field has taken off especially with the start of the cinemetrics website in 2005.