David Bordwell, Janet Staiger, and Kristin Thompson

:Robert C. Allen, Vaudevilleand Film 1895–1915: A Study in Media Interaction (PhD dissertation,University of Iowa, 1977; rep. New York: Arno Press, 1980).

Some basic questionsHere is the opening of our book proposal.

Museums provided some of the earliest alternatives to thestandard accounts of Hollywood’s history, as when Richard Koszarski programmedfilms by then little-known directors like Maurice Tourneur, Benjamin Christensen,and Reginald Barker.

And we did it all on note cards and typewriters.

More specifically, The Classical Hollywood Cinema addressesfour questions:

While the existence of a two kings who reigned a) ninety four years, b) in Egypt, and c) from the age of six, is hard enough to swallow as a coincidence, that is not all. Like Malul, Pepi II was the second to last king of his dynasty. Like Malul, his successor had a short reign of three or four years, after which Egypt fell apart. Pepi II's dynasty was called the 6th Dynasty, and was the last dynasty of the Old Kingdom in Egypt. Following his successor's death, Egypt collapsed, both economically and under foreign invasion. Egypt, which had been so powerful and wealthy only decades before, suddenly could not defend itself against tribes of invading bedouin. No one knows what happened. Some historians have suggested that the long reign of Pepi II resulted in stagnation, and that when he died, it was like pulling the support out from under a rickety building. But there is no evidence to support such a theory.

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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.

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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.”

College Essays - Top 147 Essays That Worked

Apart from the beginning and end of this brief action,only one pair of shots lacks an eyeline or figure-movement cue. Shots 28 and29 are privileged because they set up the reason for the catastrophe. We mustconcentrate on Lottie’sacting to sense her growing weariness and a brief shot of Bill to remind us ofwhat is at stake if she fails.

Advanced Placement Program - Simple English …

The simple sequence illustrates the “cut-back” throughan editing pattern that cuts back to the top of the cliff, then back to the bottom,and so on.

The Classical Hollywood Cinema Twenty-Five Years Along

This is sixteen scenes instead of one, but the actions run very littlelonger, and the dramatic tensity [sic] is greatly increased.