I was just going to point the same thing, but it seems you're quicker than me! How much would students raised with video and cable television notice a long shot? (However, notice: they said that Tarantino belonged to this video generation, and the shot of the foot massage in Pulp Fiction is really impressive). Silvia Fernandez [log in to unmask] --- [log in to unmask] wrote: > i just want to be sure i understand WLT4's point > [though of course > i'm well aware of the great differences in image > quality] > > seems to me that he [or she . . . can't tell and > shouldn't > presume] is saying that, for audiences that know > how > much "art" is involved in using the long take in > filmmaking, > the experience of a significant technical > achievement is > part of the experience of the film [analogous, i > propose, to > the way we appreciate a tight rope walker more when > she's walking ten stories up than five feet up] . . > . that is, > we are responding not ony to the diegesis but to the > filmmaker's > control of the medium . . . fair enough, if that's > what is > intended . . . it does, howeverr, presuppose a > special [and > i supect minority] view of how film narrative is > generally > experienced . . . to wit: in my introduction to > cinema classes i > often show the opening of TOUCH OF EVIL without > previous > comment and ask the students to tell me what they > notice . . . even after i run the clip two or three > times > most of the students have not noticed the fact that > it is all > a single take . . . their viewing protocols focus > exclusively > on the actions and characters protrayed and in > effect they > MAKE the cinematography all but invisible > > mike __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/ ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama: http://www.tcf.ua.edu