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! ---- Online resources for film/TV studies may be found at ScreenSite http://www.ScreenSite.org