The Classical Hollywood Cinema: Film Style &amp; Mode of Production to 1960

Bordwell, David; Staiger, Janet; Thompson, Kristin

doi:10.2307/1772109

Cited by 465 publications

(251 citation statements)

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“…In this manner, whereas reaction shots have been a part of the repertoire of filmmakers since the silent era (Bordwell, 2008; Brown, 2012; Thompson, 1985), their roles have been gradually reshaped. They have always served to indicate the reaction of a character to an event or to something that has been said, but over the years, they have been systematically appropriated into conversations, particularly as a device to end them, leaving the viewer to contemplate the implications of the conversation for the last‐seen character.…”

Section: Resultsmentioning

confidence: 99%

Cryptic Emotions and the Emergence of a Metatheory of Mind in Popular Filmmaking

Cutting

Armstrong

2018

Cognitive Science

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Hollywood movies can be deeply engaging and easy to understand. To succeed in this manner, feature‐length movies employ many editing techniques with strong psychological underpinnings. We explore the origins and development of one of these, the reaction shot. This shot typically shows a single, unspeaking character with modest facial expression in response to an event or to the behavior or speech of another character. In a sample of movies from 1940 to 2010, we show that the prevalence of one type of these shots—which we call the cryptic reaction shot—has grown dramatically. These shots are designed to enhance viewers’ emotional involvement with characters. They depict a facial gesture that reflects a slightly negative and slightly aroused emotional state. Their use at the end of conversations, and typically at the end of scenes, helps to leave viewers in a state of speculation about what the character is thinking and what her thoughts may mean for the ongoing narrative.

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Section: Resultsmentioning

confidence: 99%

Cryptic Emotions and the Emergence of a Metatheory of Mind in Popular Filmmaking

Cutting

Armstrong

2018

Cognitive Science

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“…We find, for example, that Psychology offers a more convincing account of human consciousness (as opposed to the workings of the unconscious) than does psychoanalysis (see Bordwell et al, 1988). In approaching Entertainment, bringing Psychology into the mix brings us closer to understanding how the industry works.…”

Section: Cultural Studies and Interdisciplinaritymentioning

confidence: 91%

Entertainment: An interdisciplinary approach to an object of study

Hamley

McKee

Collis

2010

Cultural Science Journal

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“…This is, undoubtedly, most people's general idea of what a film is or should be (Bordwell, 1985a). Narrative has become such a natural way of making sense of films that we forget that it is the outcome of a historical process that took place roughly between 1915 and 1955, when film established itself as 'a selfsufficient, universally intelligible unit of about two hours length' (Ellis, 1992, p. 1), which could be viewed as a one-time event in a public theatre for the price of a ticket.…”

Section: Conclusion: Theorising Change In Travel (And Through Film)mentioning

confidence: 99%

Watching narratives of travel-as-transformation inThe BeachandThe Motorcycle Diaries

Sampaio

2014

Journal of Tourism and Cultural Change

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The attention recently accorded to feature films, in tourism studies, has been mostly driven by the idea that cinema has the ability to provoke in the viewer a sense of anticipation regarding a given or potential tourist destination. Films, however, also play a not so negligible role in shaping our notions of what a tourist experience should be. One of the most common tropes in travel or tourism-related films has been the trope of the journey as a transformative or 'life-changing experience'. This paper explores the connections between this recurrent trope and the classical narrative film. Consisting, broadly, of a character-centred narrative in which events are organised by causal logic, moving towards the resolution of an initial problem or crisis, the classical narrative film relies heavily upon the idea of change (the turning-point which prepares the way for denouement), and is therefore particularly prone to depictions of tourism as a lifechanging experience. Despite innovations introduced from the 1960s onwards, most mainstream travel films still follow this narrative scheme. My paper analyses two of these films, The Beach (2000, dir. Danny Boyle) and The Motorcycle Diaries (2004, dir. Walter Salles), which have been widely discussed in relation to tourism, underlining how they support notions of travelling as a source of transformation, sidestepping more banal kinds of experiences. Drawing on a large sample of online film reviews, I argue that viewers are not unaware of this bias, which they often reproduce, comment upon and challenge.

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The Classical Hollywood Cinema: Film Style & Mode of Production to 1960

Cited by 465 publications

References 0 publications

Cryptic Emotions and the Emergence of a Metatheory of Mind in Popular Filmmaking

Cryptic Emotions and the Emergence of a Metatheory of Mind in Popular Filmmaking

Entertainment: An interdisciplinary approach to an object of study

Watching narratives of travel-as-transformation inThe BeachandThe Motorcycle Diaries

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