SCREEN-L Archives

August 1996, Week 2

SCREEN-L@LISTSERV.UA.EDU

Options: Use Monospaced Font
Show Text Part by Default
Show All Mail Headers

Message: [<< First] [< Prev] [Next >] [Last >>]
Topic: [<< First] [< Prev] [Next >] [Last >>]
Author: [<< First] [< Prev] [Next >] [Last >>]

Print Reply
Subject:
From:
Donald Larsson <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Date:
Wed, 7 Aug 1996 14:06:48 -0600
Content-Type:
text/plain
Parts/Attachments:
text/plain (24 lines)
Krin Gabbard wonders:
"May I take the liberty of expanding this discussion just a bit and ask if
anyone can come up with the EARLIEST examples of slow motion in narrative
cinema?  In _A Certain Tendency of the Hollywood Cinema_, Robert Ray traces i
t
back to _Zero For Conduct_ (1933), but I think we might also give Bunuel cred
it
for a bit of slo mo in _Un Chien andalou_.  Anything else?"
 
 
"Firsts" in cinema history are always questionable, but Murnau used
*fast* motion and stop-motion (as well as some slo-mo?) in NOSFERATU.
Rene Clair used slo-mo extensively ENTR'ACTE, and I believe that
Leger used it in BALLET MECHANIQUE as well.  Eisenstein certainly
*discussed* the potentials of slo-mo (along with everything else), and
I think, may have used it in STRIKE in particular.
 
 
Don Larsson, Mankato State U (MN)
 
----
To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L
in the message.  Problems?  Contact [log in to unmask]

ATOM RSS1 RSS2