Kolker H worked on redefining and redesigning the perceptual space of the film text, as well as that of  the viewer. H turned mise-en-scene into fearful place of uncertain sight, whether fragile The security of the bourgeois space and perception of it was deliberately disrupted and disabled. Hitchcock, like Ford, but unlike Welles, managed to […]

H worked on redefining and redesigning the perceptual space of the film text, as well as that of the viewer. H turned mise-en-scene into fearful place of uncertain sight, whether fragile The security of the bourgeois space and perception of it was deliberately disrupted and disabled. Auteur Hitchcock, like Ford, but unlike Welles, managed to […]

Rebecca:   The Man Who Knew Too Much Doris day’s scream at Albert Hall A scream from tension for the audience A liberating cry of anguish, triumph and surrender to death. Vertgo: two screams from Madeleine/Judy   Psycho: Two screams Janet Leigh in the shower Lila, when she discovers the secret in the basement   […]

One approach; dividing the running time by the number of  shots Spartacus has a shot of 7.89 seconds Gladiator 3.36 seconds or 2.08 or 0.59 for battle sequences Fall of Roman Empire (upon which Gladiator is based) 8.72 seconds Share this:

Pauline Kael, Reeling, 1971: “Movies of the past are like sample-swatches of cloth of the period in which they are made.” Share this: