Alfred Hitchcock’s Notorious  – constructive editing in scene where Alicia infers she is being poisoned
Constructive Editing in Robert Bresson’s Pickpocket
A 12 minute video by David Bordwell
Borwell covers this in a post as well:
What happens between shots happens between your ears
Book Film Art: An Introduction
In collaboration with Kristin Thompson. Ninth edition, New York: McGraw-Hill, 2009.
All that Heaven allows: what is, or was, cinephilia [part 1]
All that Heaven allows: what is, or was, cinephilia [part 2]
Film comment, Film Society Lincoln Center, 12 February 2012
At time of this post two further parts were promised
Part 1 quotable quote:
Bordwell’s argument is framed as an attempt by an academic to reach out to film critics not simply to heal a rift but to mutually enrich both practices. Yet more interesting, and problematic, he outlines what writing about film can successfully accomplish and what it cannot. He implies that the opposition between academics and critics obscures a more fundamental opposition between two different ideas of what the primary object of writing on cinema should be — its relation to culture and society or to the more localized specifiable effects that films produce. He believes that by ignoring the latter in favor of the former, film criticism and theory have lost sight of their object.
Part 1 mentions Laura Mulvey’s 1975 essay, Visual Pleasure and Narrative Cinema
There is a digital cross-through in this version, so I’ve included a couple of other sources: LM 2 and a facsimile of the original article/paper: LM3 (which in a footnote says it’s a reworked version of a paper given in the French Department of University of Winsconsin, Madison, in the Spring of 1973
Baumbach quotes Mulvey:
“It is said that analyzing pleasure, or beauty, destroys it. That is the intention of this article.”
which he then goes on to explain, including:
..her statement came from a conviction that theory about cinema mattered not just in relation to gaining specialized knowledge about a particular popular art form, but to how we live and experience the world.
I’ve chosen these four from Film Studies for Free‘s selection of music and film related essays and books.
What the music is saying in Bertolucci
from Bright Lights
Robynn J. Stilwell
Film Music and Narrative Agency pp. 248-82, Ch. 12 of
Post-theory: Reconstructing Film Studies editied by David Bordwell and Noel Carroll.
which looks pretty o.k. as a whole.
Missing pages in this review:
The last two are in the end notes.
If we want to know how films work upon us, then cognitive theory offers a range of concepts which correlate nicely with notions like norm, form, function, and psychological experience.