The Classical Hollywood Cinema Twenty-Five Years Along
When I came onto the project in the late 1970s, also influentialfor me were Marxism and the ideological critique of romantic authorship sincethese theories assumed a historical materialist base. This philosophicalposition was much more credible to explain history and historical change. Italso fit with my biography as a working-class daughter who was a first-generationcollege student. Itmatched my political progressivism. Turning to an eclectic group of Marxisttheorists—Harry Braverman, Raymond Williams, Jean-Louis Comolli, John Ellis,Louis Althusser, and other analyses of modes of production—I looked for(and found) valuable explanations about how and why labor divided and constructedsystems of bureaucracy and work patterns to insure both the standardization anddifferentiation of an entertainment product. One of the points that I stressedwas that “what was occurring was not a result of a Zeitgeist orimmaterial forces. The sites of the distribution of these practices werematerial: labor, professional, and trade associations, advertising materials,handbooks, film reviews” (CHC, 89). Although I had not beenreading contemporaneous structural-functionalist production of culture literatureby Howard Becker, Paul DiMaggio, Paul Hirsch, Richard A. Peterson, and others,similar general issues permeated both sets of literature even if the theoreticalexplanations differed.
David Bordwell, Janet Staiger, and Kristin Thompson
Black Gate 15 - The last print issue
This is basically the argument made in Chapter 16of CHC: that continuityediting gradually replaced single-shot scenes because the filmmakers could providebetter clarity for the viewer. Individual character expressions and details couldbe emphasized via closer views exactly at the moments when they were most significantto our understanding of the plot.
Monday, August 22nd, 2016 | Posted by John ONeill
Indeed, Sargent emphasizes that the sequence needsto be broken down into a series of closer shots for precisely this reason: weneed to see the expressions and “thedetails of the action.”
Tuesday, February 20th, 2018 | Posted by Steven H Silver
:David and Kristin do discuss generic motivation as one of the four motivationsfor any film practice but a full-fledged analysis in relation to the normal articulationof the term might have made the point clearer as well as how to apply Neoformalismto smaller groups of films.
Tuesday, August 29th, 2017 | Posted by John ONeill
:For example, Murray Smith, Engaging Characters: Fiction, Emotion and theCinema (NY:Oxford University Press, 1995); Carl Plantinga and Greg M. Smith, eds., PassionateViews: Film, Cognition, and Emotion (Baltimore: Johns Hopkins UniversityPress).