Bordwell, D 2002, ‘Intensified Continuity’, Film Quarterly, vol. 55, no. 3, pp. 16-28.
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Bordwell’s discussion around Intensified Continuity focuses predominantly on the decreasing average shot length (ASL) in American films from the late 1960s onwards. Highlighting this he uses a multiple of examples including films from various genres. Alongside this decreased ASL Bordwell also explores other stylistic changes such as the usage of bipolar lens length and the free roaming camera that constitutes this idea of Intensified Continuity. The implications of these new trends or conventions haven’t been limited to Hollywood or American cinema, Bordwell provides examples from international cinema and both American and international art house films. The article proceeds to attempt to identify the causes for these stylistic changes, focusing upon the impact of television. Bordwell explores the relationship between film and television and how much of the content has become interchangeable. The two platforms often share conventions, personnel and audiences. Much of the aesthetic of this new style of continuity is based upon the need to hold an audience captive in a time of endless distractions and stimulation.
Bordwell’s discussion around Intensified Continuity focuses predominantly on the decreasing average shot length (ASL) in American films from the late 1960s onwards. Highlighting this he uses a multiple of examples including films from various genres. Alongside this decreased ASL Bordwell also explores other stylistic changes such as the usage of bipolar lens length and the free roaming camera that constitutes this idea of Intensified Continuity. The implications of these new trends or conventions haven’t been limited to Hollywood or American cinema, Bordwell provides examples from international cinema and both American and international art house films. The article proceeds to attempt to identify the causes for these stylistic changes, focusing upon the impact of television. Bordwell explores the relationship between film and television and how much of the content has become interchangeable. The two platforms often share conventions, personnel and audiences. Much of the aesthetic of this new style of continuity is based upon the need to hold an audience captive in a time of endless distractions and stimulation.