TABLE OF CONTENTS

CHAPTER 8/PART 1  THE STATE OF THE ART, 1990-1909

FORMAL ASPECTS OF THE STORY FILM IN 1903

Linking One Shot to Another: The Art of the Transition

The Time Lapse as Visual Pleasure: Dissolves

Figure 8.1: Dissolving the Crime
Figure 8.2: Dissolving the Problem of Continuity

Toward the Illusion of Continuity and Simultaneity: Cutting on Action

Figure 8.3: A Trip through Contiguous Outer Spaces

Unmediated, Unobtrusive Transitions

Figure 8.4: Continuity in Action (III)
Figure 8.5: Continuity in Action (IV)

The Problem of Linear Construction

The Uses of Condensation

Figure 8.6: The Mystery of Continuity

Following Directions; or, Getting It Right Some of the Time

Thrusting into the Depths of Things: Exploring the Diagonal

Figure 8.7: Three-Dimensional Space as a Production Value

Movement and Motivation

Movement and Orientation: Fire!

Figure 8.8: Continuity in Action (V)

Cutting to the Chase: Personal

Figure 8.9: The Pursuit of Matrimonial Happiness
Figure 8.10: The Pursuit of Laughs

Further Uses of the Continuity Criterion: Scenic Dissection

Figure 8.11: The Burlesque Attraction

Narrativizing Point of View

Figure 8.12: The Case of the Keyhole

Narrativizing the Frame

Figure 8.13: How (and Why) to Keep Your Distance

Denoting Distances: Distinctions and Finer Distinctions

Figure 8.14: Framing Cary Grant

Catering to Point of View: The Gay Shoe Clerk Redux

Figure 8.15: Unmasking the Voyeur

Inserts and Emblems

Figure 8.16: Framing Janet Leigh
Figure 8.17: “Rest in Pieces”

Inserting the Printed Word: Buy Your Own Cherries

“Narratively Non-Specific Shots”

Figure 8.18: The Motion Picture as Product Category

Narrativizing Angles

Figure 8.19: Framing Vera Miles

Straddling the Fence: Early Reverse Angles

Figure 8.20: The Reverse-Angle Prop

GLOSSARY

REFERENCES

Reading 8.1: Jump Cut: Strangers on a Train

Figure R8.1: Early Tracking Shots
Figure R8.2: When to Insert a Phallic Symbol
Figure R8.3: Hand-to-Hand Contact
Figure R8.4: Smokers on a Train
Figure R8.5: A Train with a View
Figure R8.6: Perspectives on a Kiss
Figure R8.7: Plotting Plots

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