Beteiligte: | , |
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In: | Canadian Journal of Film Studies, 26, 2017, 2, S. 1-30 |
veröffentlicht: |
University of Toronto Press Inc. (UTPress)
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Medientyp: | Artikel, E-Artikel |
Umfang: | 1-30 |
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ISSN: |
0847-5911
2561-424X |
DOI: | 10.3138/cjfs.26.2.2017-0005 |
veröffentlicht in: | Canadian Journal of Film Studies |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | University of Toronto Press Inc. (UTPress) (CrossRef) |
<jats:p> Abstract: General agreement exists today that David Wark Griffith, while not the “inventor” of crosscutting, is nevertheless a key figure in its development. But what does that mean exactly? Or, more precisely: how does one establish a list of Griffith’s concrete contributions to the development of the technique? The goal of this article is to present a new theoretical framework for evaluating the evolution of various parameters of crosscutting during cinema’s transitional era. This framework results from the combination of our hypothesis concerning actorial and narratorial cuts with a new theory on the articulations of spatial language. This new theoretical tool allows us to detect variations in the presence of an underlying narrator as the agent responsible for filmic enunciations and to establish, in the end, a typology of cuts connecting the shots in a crosscutting sequence. </jats:p> |