1. EN/AS3233 AMERICAN FILM: ART & INDUSTRY http://www.nus.edu.sg/Courses/trw/Film/

2. THE CLASSICAL HOLLYWOOD CINEMA (CHC) NARRATIVE CAUSAL AGENTS are individual characters GOALS Lead to CONFLICTS Lead to CHANGES ACTION ROMANCE WORK-RELATED CLOSURE

3. 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

4. SPATIAL CONTINUITY The 180 o 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.

5. The 180 o DEGREE SYSTEM 180 o Rule dictates that the camera may not CUT from 1 side of the line to the other Functions of the 180 o rule: Ensures common space from shot to shot Ensures constant screen direction Clearly delineates space

6. The 180º Rule 1 2 3 AB

7. 1 AB 3 AB 2 AB

8. 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.

9. Ways to cross the line: 1 2 3 AB

10. 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

11. Shot/Reverse Shot 1 2 3 AB

12. A 1 AB A 2 B A 3 A

13. 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

14. Eyeline Match SHOT ASHOT B

15. 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

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

17. Jump Cut 1 2 3 <30º

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

19. Cheat Cut 1

20. 2

21. 3

22. 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

23. 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)

24. 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