Bordwell, D, Thompson, K 2013, Film Art: An Introduction, 10th Edn, The McGraw- Hill Companies, Inc., New York, NY, pp. 160-218.
One thought on “Bordwell, D, Thompson, K 2013, Film Art: An Introduction, 10th Edn, The McGraw- Hill Companies, Inc., New York, NY, pp. 160-218.”
In this chapter of Film Art, I particularly focused on the section about the long take, which stresses that, while in many films the director has the option (and often chooses) to cut real- time duration in editing, whereas the long take keeps real time with the audience. The source however provides an insight into the confusion that can be created with an ellipsis cut directly proceeding the long take, making the audience acutely aware of changing time in the film.
This source only includes a fairly generic summary of the long take. It focuses more on montage as a series of shots and cuts and, as is seemingly a trend, does not mention the long take explicitly as a form of montage. Compared to Bordwell’s other research in this field, the source doesn’t necessarily offer any new information, rather some specific examples of well- used long takes in various films over history.
This source was useful in understanding the effect of the long take, but made no tangible connection between the long take and montage, which was what I was looking for in this instance. While somewhat adding to my knowledge of the long take, it has left more questions than answers.
In this chapter of Film Art, I particularly focused on the section about the long take, which stresses that, while in many films the director has the option (and often chooses) to cut real- time duration in editing, whereas the long take keeps real time with the audience. The source however provides an insight into the confusion that can be created with an ellipsis cut directly proceeding the long take, making the audience acutely aware of changing time in the film.
This source only includes a fairly generic summary of the long take. It focuses more on montage as a series of shots and cuts and, as is seemingly a trend, does not mention the long take explicitly as a form of montage. Compared to Bordwell’s other research in this field, the source doesn’t necessarily offer any new information, rather some specific examples of well- used long takes in various films over history.
This source was useful in understanding the effect of the long take, but made no tangible connection between the long take and montage, which was what I was looking for in this instance. While somewhat adding to my knowledge of the long take, it has left more questions than answers.