: On the History of Film Style . David Bordwell.

Belton, John

doi:10.1525/fq.1999.52.4.04a00180

Cited by 6 publications

(7 citation statements)

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“…Bordwell himself (1985: 155) describes the stylistic system of film (1) as a counterpart to the formal system of the film, and (2) as a patterned and significant use of any film technique. 2 Finally, Bordwell (1985Bordwell ( , 1997 eventually introduced more complex ideas of mis-en-scène. For example, his remarks about "staging in depth" formulate a step toward recognizing the meaning-making aspect of space and movement interaction and the role of bodily experience in it (Bordwell 1997: 169-271).…”

Section: Mise-en-scène Reevaluatedmentioning

confidence: 99%

Toward Production Design Metaphor: Implications of Situated Authorship and Meaning-Making

Ilmaranta

2023

Baltic Screen Media Review

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The task of production design is to create locations where cinematic events occur. Since the subjective experiences of the characters in the film are mainly observable externally, the entire film practice aims to express them through secondary means, for example by design and cinematography. The filmmaker can choose what she brings to the foreground from the character’s experience and what aspects she emphasizes. In the case of production design, it is possible to express metaphorical correlations through the spatialization process of cinematic events while anticipating the embodied situatedness of the camera and the eventual film viewer. The notion of situated authorship is discussed through iconic design examples from Gone With the Wind and The Birds, which have historically shaped the concept of production design practice. In the case study referring to my work as a designer, I intend to evaluate the schemas used in the spatialization process in the context of Embodied Simulation Theory (EST) and Conceptual Metaphor Theory (CMT). Here, I propose the idea of a dynamic staging scenario that indicates how cinematic movement – especially the action of the scene and the movement of the camera onset – is considered in spatialization. With the discussion, I conduct a design analysis with which the properties of the space can be evaluated based on the concepts of image schema, primary metaphor, and conceptual metaphor.

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Section: Mise-en-scène Reevaluatedmentioning

confidence: 99%

Toward Production Design Metaphor: Implications of Situated Authorship and Meaning-Making

Ilmaranta

2023

Baltic Screen Media Review

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“…The clips are shot from different angles of camera placement, but the audience is still able to understand the director's intention to translate this not-quite-continuous information into a coherent event. Film artists attribute this to an invisible continuity editing system [1], which is a traditional narrative film presentation of a dramatic plot that ensures temporal and spatial unity, while the editor needs to anticipate and gently control the audience's mind, not allowing them to feel the presence of the director, so that the audience can watch in an "unconscious" and natural state. This editing system is still widely used today.…”

Section: Introductionmentioning

confidence: 99%

A High-Density EEG Study Investigating the Neural Correlates of Continuity Editing Theory in VR Films

Cheng

Wang

Zou

et al. 2023

Sensors

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This paper presents a cognitive psychology experiment to explore the differences between 2D and virtual reality (VR) film editing techniques. We recruited sixteen volunteers to view a range of different display modes and edit types of experimental material. An electroencephalogram (EEG) was recorded simultaneously while the participants watched. Subjective results showed that the VR mode reflects higher load scores, particularly in the effort dimension. Different editing types have no effect on subjective immersion scores. The VR mode elicited stronger EEG energy, with differences concentrated in the occipital, parietal, and central regions. On the basis of this, visual evoked potential (VEP) analyses were conducted, and the results indicated that VR mode triggered greater spatial attention, while editing in 2D mode induced stronger semantic updating and active understanding. Furthermore, we found that while the effect of different edit types in both display modes is similar, cross-axis editing triggered greater cognitive violations than continuity editing, which could serve as scientific theoretical support for the development of future VR film editing techniques.

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“…La Nueva Historia del Cine (New Cinema History), es una perspectiva que estudia la exhibición y la programación de películas, así como la memoria y la experiencia social de las audiencias provenientes de su concurrencia a los recintos cinematográficos (Maltby, Biltereyst y Meers, 2011), gracias a las aportaciones teóricas y empíricas de destacados académicos como Abrams (1950); Austin (1983); Allen (1979;1990;; Gomery (1992); Staiger (1992Staiger ( , 2000; Balio (1993); Belton (1994;; Stacey (1994); Fuller (1996); Altenloh (2001); Kuhn (2002;; Kuhn, Biltereyst y Meers (2017); entre otros.…”

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Exhibición y programación cinematográfica en la ciudad y puerto de Veracruz, México 1952/ Film exhibition and programming in the city and port of Veracruz, Mexico 1952

2020

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Resumen Dentro de la perspectiva teórica de la Nueva Historia del Cine, se pondera la exhibición y programación de películas en la ciudad y puerto de Veracruz en el año de 1952. El propósito del proyecto internacional Cultura de la Pantalla, ha sido presentar estudios fuera de Europa y Estados Unidos, como sucede en varias ciudades mexicanas, que permita contrastar factores sociales, culturales y económicos que influyen en la oferta cinematográfica y especificar la ubicación de las salas de cine, así como su programación en una determinada época, representando el objetivo del presente artículo. Se fundamenta en la investigación documental de archivos de la ciudad de Veracruz y revisión de carteleras cinematográficas publicadas los sábados de 1952 en el periódico El Dictamen. Entre los resultados destacan: Presencia histórica de películas de Estados Unidos, México y otras partes del mundo, así como auge de exhibición de filmes nacionales durante la época de oro del cine mexicano (1940-1952). Se concluye que se muestran patrones similares en salones cinematográficos de Torreón, Tampico-Ciudad Madero y Veracruz, a los identificados en ciudades norteamericanas y europeas, localizados mayormente en su centro urbano, con similar vinculación sensitiva de sus habitantes, formando parte de su entorno y vida cotidiana. Abstract Within the theoretical perspective of the New History of Cinema, the exhibition and programming of films in the city and port of Veracruz in 1952 is weighed. The purpose of the international project Culture of the Screen has been to present studies outside of Europe and the United States, as it happens in several Mexican cities, which allows contrasting social, cultural and economic factors that influence the cinematographic offer and specifying the location of the cinemas, as well as their programming at a certain time, representing the objective of the present Article. It is based on the documentary investigation of archives of the city of Veracruz and a review of film billboards published on Saturdays in 1952 in the newspaper El Dictamen. Among the results, the following stand out: Historical presence of films from the United States, Mexico and other parts of the world, as well as a boom in the exhibition of national films during the golden age of Mexican cinema (1940-1952). It is concluded that similar patterns are shown in cinemas of Torreón, Tampico-Ciudad Madero and Veracruz, to those identified in North American and European cities, located mostly in their urban center, with similar sensitive links of their inhabitants, forming part of their environment and daily life.

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: On the History of Film Style . David Bordwell.

Cited by 6 publications

References 0 publications

Toward Production Design Metaphor: Implications of Situated Authorship and Meaning-Making

Toward Production Design Metaphor: Implications of Situated Authorship and Meaning-Making

A High-Density EEG Study Investigating the Neural Correlates of Continuity Editing Theory in VR Films

Exhibición y programación cinematográfica en la ciudad y puerto de Veracruz, México 1952/ Film exhibition and programming in the city and port of Veracruz, Mexico 1952

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