The changing poetics of the dissolve in hollywood film

Empirical Studies of the Arts

Volumn 29, Issue 2, 2011, Pages 149-169

  Cutting, James ^a   Brunick, Kaitlin ^a   Delong, Jordan ^a  

^a Cornell University ^*  (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84861652177     PISSN: 02762374     EISSN: 15414493     Source Type: Journal    
DOI: 10.2190/EM.29.2.b     Document Type: Review

References (30)

1. Balázs, B. (1970). Theory of the film: Character and growth of a new art. New York: Dover. (First published in 1945.)
2. Bordwell, D. (2002). Intensified continuity. Film Quarterly, 55, 16-28.
3. Bordwell, D. (1989). Historical poetics of cinema. In R. B. Palmer (Ed.), The cinematic text: Methods and approaches (pp. 369-398). New York: AMS Press. Bordwell, D. (2002). Intensified continuity. Film Quarterly, 55, 16-28.
4. Bordwell, D. (2006). The way Hollywood tells it. Berkeley, CA: University of California Press.
5. Bordwell, D. (2007). The poetics of cinema. London: Routledge.
6. Bottomore, S. (1990). Shots in the dark: The real origins of film editing. In T. Alsaesser & A. Barker (Eds.), Early cinema: Space, frame, narrative (pp. 104-113). London: British Film Institute Publishing.
7. Carey, J. (1974). Temporal and spatial transitions in American fiction films. Studies in the Anthropology of Visual Communication, 1, 45-50.
8. Carey, J. (1982). Conventions and meaning in film. In S. Thomas (Ed.), Film/culture: Explorations of cinema in its social context (pp. 110-125). Metuchen, NJ: The Scarecrow Press.
9. Chandler, G. (2009). Film editing: Great cuts every filmmaker and movie lover must know. Studio City, CA: Michael Wiese Productions.
10. Cook, D. A. (1981). A history of narrative film. New York: Norton.
11. Cutting, J. E., Brunick, K. L., & DeLong, J. E. (2011). How act structure sculpts shot lengths and shot transitions in Hollywood film. Projections: The Journal for Movies and Mind, 5, 1-16.
12. Cutting, J. E., DeLong, J. E., & Brunick, K. L. (in press). Visual activity in Hollywood film: 1935 to 2005 and beyond. Journal of Aesthetics, Creativity, and the Arts.
13. Cutting, J. E., DeLong, J. E., & Nothelfer, C. E.. (2010). Attention and the evolution of Hollywood film. Psychological Science, 21, 440-447.
14. Dmytryk, E. (1984). On film editing. Boston, MA: Focal Press.
15. Grodal, T. (1997). Moving pictures: A new theory of film genres, feelings, and cognition. Oxford: Clarendon Press.
16. Katz, S. D. (1991). Film directing shot by shot: Visualizing from concept to screen. Studio City, CA: Michael Wiese Productions.
17. Lindgren, E. (1963). The art of the film. New York: Macmillan.
18. Messaris P., 1994, Visual literacy: Image, mind, and reality. Boulder, CO: Westview Press.
19. Mitry, J. (1990). The aesthetics and psychology of the cinema. Bloomington, IN: Indiana University Press.
20. Monaco, J. (1977). How to read a film. New York: Oxford University Press.
21. Rossell, D. (1998). Living pictures: The origins of the movies. Albany, NY: The State University of New York Press. Salt, B
22. Messaris, P. (1994). Visual literacy: Image, mind, and reality. Boulder, CO: Westview Press.
23. Mitry, J. (1990). The aesthetics and psychology of the cinema. Bloomington, IN: Indiana University Press.
24. Salt, B. (2006). Moving into pictures. London: Starword.
25. Salt, B. (2009). Film style and technology: History and analysis (3rd ed.) London: Starword.
26. Smith, T. J. (2006). An attentional theory of continuity editing. Doctoral thesis. University of Edinburgh.
27. Smith T. J., & Henderson J. M. (2008). Edit blindness: The relationship between attention and global change blindness in dynamic scenes. Journal of Eye Movement Research, 2, 1-17.
28. Thompson, K. (1999). Storytelling in the new Hollywood. Cambridge, MA: Harvard University Press.
29. Verstraten, P. (2009). Film narratology. S. van der Lecq (Trans.). Toronto: University of Toronto Press.
30. Webster, C. (1999). Film and technology. In J. Nelmes (Ed.), An introduction to film studies (2nd ed.). London: Routledge Press.