I am surprised that the name of Jean-Luc Godard has not come
up in this thread.  Especially considering his relationship with
André Bazin.  And Italian Neorealism has only been mentioned in
passing.
        I would also like to point out the difference between a long
take (a shot of considerable length) and a sequence shot (an entire
sequence made of one shot).  For example, the uninterrupted backward
tracking shot in Pasolini's *Mamma Roma* and then lateral tracking
shot (with pans) in Godard's *Weekend* are examples of the long take.
But Welles's *Touch of Evil, * Jancso's *The Red and the White* and
(the entire) *Russian Ark* are sequence shots.   As are the opening
of Anderson's *Boogie Nights,* and the walk through the night club in
Scorsese's *Good Fellas.*
        Finally, thanks to James Monaco for clarifying the difference
between POV and eyeline match.

        Gloria Monti
______________________________
gloria monti, PH.D.
cinema studies program
oberlin college
10 n. professor st.
oberlin, OH 44074
phone: 440-775-6015
fax: 440-775-8684
e-mail: [log in to unmask]
________________________
Hasta la victoria, Jose Luis Rodriguez Zapatero!

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