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Mike Frank makes a useful distinction:
 
"does the phrase "real time" refer to the represented or diegetic time--in
which case ROPE would seem to serve as a good example--or does it refer to an
actual correspondence between the time it took to record the film and the
time it takes to project it back--in which case we're talking about a 1:1
correspondence that exits only as a matter of historical record but is not
itself inscribed in the finished film . . . in which case i'm not sure why it
matters . . . perhaps there's something i'm missing"
 
 
The latter type of recording is limited by the size of the film reels
 themselves.  Thus ROPE--which is diegetically continuous--actually consisted of
 (I believe) five reels of film (but there are only two distinct cuts in the
 film).
 
On the other hand, there are a number of films where the director has simply
let the camera run for an entire reel of film (or close to it) with no cutting
and fairly unobtrusive camera movement.  Bazin made a pretty big deal of the
strawberry shortcake scene between George and Fanny in THE MAGNIFICENT
 AMBERSONSbut we could also cite such scenes as Keenan Wynn's great comic
 monologue in
the coffee shop in THE CLOCK or the riverside conversation between Jimmy Stewart
and Richard Widmark in Ford's TWO RODE TOGETHER.
 
 
Don Larsson, Mankato State U (MN)
 
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