EN/AS3233EN/AS3233AMERICAN FILM: ART & AMERICAN FILM: ART &

INDUSTRYINDUSTRY

EN/AS3233EN/AS3233AMERICAN FILM: ART & AMERICAN FILM: ART &

INDUSTRYINDUSTRY

http://www.nus.edu.sg/Courses/trw/Film/http://www.nus.edu.sg/Courses/trw/Film/

THE CLASSICAL THE CLASSICAL HOLLYWOOD CINEMA HOLLYWOOD CINEMA

(CHC)(CHC)

THE CLASSICAL THE CLASSICAL HOLLYWOOD CINEMA HOLLYWOOD CINEMA

(CHC)(CHC)•NARRATIVE

•CAUSAL AGENTS are individual characters•GOALS

•Lead to CONFLICTS•Lead to CHANGES

•ACTION•ROMANCE•WORK-RELATED

•CLOSURE

•STYLE•CONTINUITY EDITING

•Ensures NARRATIVE CONTINUITY•GRAPHICS are kept similar from shot to shot•RHYTHMIC RELATIONS usually not emphasized

•Length of a take dependant on camera distance •Long shots on screen longer than closer shots

•SPATIAL CONTINUITY•The 180o DEGREE SYSTEM

•Mise-en-scène & camera arranged to establish an imaginary line, or axis of action•Generally determined by the position of the 2 main characters in the shot•May also be determined by a car travelling, person walking, etc.

•The 180o DEGREE SYSTEM•180o Rule dictates that the camera may not CUT from 1 side of the line to the other•Functions of the 180o rule:

•Ensures common space from shot to shot•Ensures constant screen direction•Clearly delineates space

The 180º RuleThe 180º Rule

12

3

A B

The 180º RuleThe 180º Rule

1

A B

3

AB

2

A B

•Ways to cross the line:•The camera may track across it•Characters may move to change the line•Camera may cut to a position ON the line before cutting to the other side•Violations are sometimes allowed in certain settings: doorways, staircases, etc.

Ways to cross the line:Ways to cross the line:

1

2

3

A B

•SHOT/REVERSE SHOT•Cutting from 1 end of the line to the other, back & forth•Used especially in conversations•Often keeps the shoulder of 1 character in the shot of the other

Shot/Reverse ShotShot/Reverse Shot

1

2 3

A B

Shot/Reverse ShotShot/Reverse Shot

A

1

A BA

2

B

A

3

A

•EYELINE MATCH•Creates the impression of spatial continuity when 2 characters are not in the same shot•Shot A shows a person looking offscreen•Shot B shows us what is being looked at•In neither shot are both looker & object shown

Eyeline MatchEyeline Match

SHOT A SHOT B

•ESTABLISHMENT / BREAKDOWN / REESTABLISHMENT

•Space is established with an ESTABLISHING SHOT•Space is broken down with closer shots•Space is reestablished with a long shot when a new character enters the scene•A scene usually begins with an establishing shot, & usually ends with a close-up

•MATCH ON ACTION•Shot A shows the beginning of a movement•Shot B shows the continuation of that same action, with at least a 30o shift in the camera position

Jump CutJump Cut

12

3<30º

•CHEAT CUT•Imperfect continuity from 1 shot to the next•Narrative motivation should prevent the viewer from noticing the difference between the 2 shots

Cheat CutCheat Cut

1

Cheat CutCheat Cut

2

Cheat CutCheat Cut

3

•TEMPORAL CONTINUITY•ORDER

•Events presented in chronological order & seen only once•Exception is the flashback (or flashforward)•Signalled by a cut or dissolve•Motivated by the narrative

•FREQUENCY•Events almost always happen only once•If events are repeated:

•motivated by the narrative•signalled by a cut or dissolve

•DURATION•Plot time is rarely longer than story time•Usually in complete continuity (plot time = story time) or story time is omitted (plot time < story time)•Time can be omitted within scenes•However, scenes are often in continuity, with time omitted between scenes

•Indicated by PUNCTUATION or TRANSITION DEVICES (dissolves, fades, wipes, or cuts)

•RELATIONSHIP BETWEEN STYLE & NARRATIVE

•Logic & linearity of the narrative is important to the CHC, with clear construction of space & time•Audience is not supposed to be distracted by the style•CHC emphasizes clear transmission of narrative information