Film Style and Technology in the Forties

Salt, Barry

doi:10.2307/1211826

Cited by 10 publications

(4 citation statements)

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“…The first moviegoers in the early 20th century enjoyed the commonly called phantom rides, the effect provided by the moving camera as it traveled on the train tracks and the canals of Venice as if being moved by an invisible phantom (Salt, 2009). By the 1930s, filmmakers explored the possibilities of moving the camera to an extent that a 1932 issue of American Cinematographer notes a meeting between directors and cinematographers over redundant execution and the abuse of camera movements (Hall, 1932).…”

Section: Theories Of Embodied Cameramentioning

confidence: 99%

An embodiment of the cinematographer: emotional and perceptual responses to different camera movement techniques

et al. 2023

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We investigate the relationship between camera movement techniques and cognitive responses in audiences, reporting on an experiment exploring the effects of different camera movement methods on viewers' degree of immersion and emotional response. This follows directly from preceding experimental literature and is further motivated by accounts and experiences of practicing cinematographers (authors included), which indicates a correspondence between the two. We designed three different cinematic scenes with indifferent moods, and shot each one time with Steadicam, dolly, handheld, and static camera, resulting in 12 different clips. A total of 44 non-professional participants watched the clips and rated their reactions in terms of arousal and degree of involvement. Experimental results are mixed: movement affects the sense of involvement but not necessarily emotional response. We present and discuss some further explorative results and possible future directions to improve the design. We argue in this contribution that there is value in experimental approaches to cinematography, enabling the systematic study of creative intuitions and audience responses in controlled settings.

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Section: Theories Of Embodied Cameramentioning

confidence: 99%

An embodiment of the cinematographer: emotional and perceptual responses to different camera movement techniques

et al. 2023

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“…These are attempts that had already been anticipated by some previous experiments, but that began to gain some diffusion from the mid-1970s. Think of the analysis of average shot length to investigate the stylistic signatures of films directed by different directors, or to survey cutting rates in different periods of film history (e.g., the 1940s and 1950s) (Salt 1974, 1983, Tsivian 2009, Heftberger 2018, see also Bordwell 2006). Similar quantitative analyses, as well as those on the scale of shot and camera movement, have been carried out for decades, literally manually, without recourse to automated tools.…”

Section: Giorgio Avezzù and Marta Rocchimentioning

confidence: 99%

“…The contrast between more traditional approaches and data-driven analysis in cinema studies, on the other hand, is no doubt well understood by anyone who reads the pages of a paradigmatic scholar like Barry Salt (1983), particularly the first chapters of his Film Style and Technology, "the first and only history of motion picture style". One cannot help but notice in those pages a certain arrogance on the part of the author, who boasts a PhD in theoretical physics and believes in the objectivity of what he calls "real sciences", and an explicit aversion to the humanities in general and their alleged charlatanism.…”

Section: Giorgio Avezzù and Marta Rocchimentioning

confidence: 99%

Audiovisual Data: Data-Driven Perspectives for Media Studies. 13th Media Mutations International Conference

2023

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Gomorrah is an Italian crime drama TV series that has been appreciated worldwide, being sold in 190 countries, despite its wide use of Neapolitan dialect, hardly understandable without the use of subtitles even for most Italians. Scholars immediately approached the study of this serial phenomenon, analysing it from different points of view, framing it within the broader context of studies on the new Italian television and its serial products. Our approach to Gomorrah, taking these elements into account, adds a new perspective that concerns character recognition, an emerging branch of research, to associate dialogues with characters and identify the verbal features of characters. We have then chosen Gomorrah as a challenging dataset to perform character recognition. We rely on the transcripts of the series after a pre-processing stage to standardize the lexicon despite the vagaries of dialect and remove stopwords. A machine learning approach, based on a selection of tools, is then employed to identify characters from the lexicon they employ. The problem is approached as a multi-class classification scheme. We compare several representations of texts, including the simple one-hot encoding and more advanced embedding techniques. The results are presented through a confusion matrix, which can also serve to identify similarities in the linguistic profiles of characters.

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“…Moreover, to our knowledge no Nordic academic attempt to analyse and comparatively discuss the connections between adolescents' films and the professional movies that specifically target teenagers, exists. For film studies, this omission seems to stem from the idea that young peoples' media-making has traditionally taken place in educational settings, and is thus set apart from both the artistic and 'amateurist' models which have generally guided aesthetic inquiries in the discipline (Bordwell & Thompson, 2010;Buckingham & Willett, 2009;Salt, 1992;Sconce, 1995). Nevertheless, the lack of academic interest in the formal qualities of films created by young people seems odd, as adolescents growing up during the last twenty years are claimed to belong to a media literate, digital generation.…”

Section: Digital Literacy and Filmmakingmentioning

confidence: 99%

Double Allegiance: Digital Natives as Filmmakers

Moseng¹,

Vibeto²

2012

NJDL

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This article is based on close examination of more than 300 films screened at the Amandus film festival for young filmmakers, in the 25 year period between 1987 and 2012. The aim of the article is to highlight some of the most striking developments in this data material -aesthetically as well as thematically. The overall argument is that the Amandus films display a double allegiance to commercial movies, both in terms of their semi-professional cinematic form and in terms of the themes and moral attitudes expressed.

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Film Style and Technology in the Forties

Cited by 10 publications

References 0 publications

An embodiment of the cinematographer: emotional and perceptual responses to different camera movement techniques

An embodiment of the cinematographer: emotional and perceptual responses to different camera movement techniques

Audiovisual Data: Data-Driven Perspectives for Media Studies. 13th Media Mutations International Conference

Double Allegiance: Digital Natives as Filmmakers

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