week twelve - intensified continuity

Average shot lengths (ASLs) throughout American cinema:

In the 1920's, the average shot length was about 4 to 6 seconds per shot. From 1930-1960, that average lengthened to about 8 to 11 seconds per shot. In the mid 1960's, a new trend took place that significantly cut that length, to about 6 to 8 seconds, although certain movies ASLs were considerably shorter: 4 seconds, 3.8 seconds, and even 2.7 seconds. The pace accelerated over time, hitting 5 to 8 seconds in the 1970's, and continued to quicken, with double-digit ASLs all but vanishing in the 1980's, and averaging about 5 to 7 seconds, although many films averaged only 3 to 4. Keeping with the trend, this pace quickened over time, and by the end of the century, 3 to 4 seconds was common, although many still reached to 6.

Here, only Woody Allen and M. Night Shyamalan are credited with not jumping on that bandwagon, and sticking with their long-shot editing styles.



Why did filmmakers start mixing long and short lenses within scenes?

According to Bordwell, some filmmakers started mixing long and short lenses within scenes because they "appreciated the advantages of long lenses but also wanted to maintain the 1940s tradition of deep-space shooting." To force perspectivism and gain the advantage of free-range style, there was no other way.



Why have filmmakers moved away from plan americain staging and lengthy two-shots?

More recently (1960s and beyond) filmmakers have moved away from the plan americain
style staging in accordance with quicker editing styles. With 'singles' shots, and plenty of close-ups, editing was more heavily relied on, as scenes tend to rely more on over-the-shoulder shots and more medium shots. This allows the director to more greatly vary the pace during editing, as well as pick the best bits of each actor's performance, as opposed to relying on a longer two-shot with less variation.



Describe three moving camera techniques that have become common in intensified continuity.

The prolonged following shot: where the camera tracks a character[s] moving along a lengthy path. Often times accomplished with technology such as the Steadicam and lighter cameras, these shots are impressive and often lend itself to filmmaker envy, and the attempt to out do each other.

Inching track forward or sideways: often used as an orienting shot, this creates a "moving master."

The crane shot: previously used as a stylish addition, this is now a "casual embellishment," made possible by a new generation of aerial cameras mounted on mini remote-controlled helicopters.

also, the "creeping-zoom" and the "push-in"



How is the prowling camera related to other stylistic shifts in intensified continuity?

The prowling camera is seen to "boost the energy" of the scene, much like other stylistic shifts in intensified continuity, including rapid editing, bipolar extremes of lens lengths, and a reliance on tight singles shots. Each of these techniques serves the other: "Tighter framings permit faster cutting. Long lenses pick out figures for one-on-one editing," etc...