Change: Good or bad?

Usha Sharma

Hollywood has always catered to demand and supply and thus the intensified continuity had replaced classical continuity. The popularity of Mtv, proves that this millennial generation that has grown up on 30 second TV commercials, can process information faster and therefore demand it.

Intensified continuity has also gained popularity as it gives the director more options on more shots in the editing room. The shots become shorter and the cuts are more frequent giving the film a more “intense” feel. The viewer has less time to engage as they are quickly taken from one scene to another …and these are the technological advances which try to keep up with their fast moving audience as Bordwel states, is that “when an independent goes mainstream, the cutting is likely to accelerate.” This basically implies that everyone in the audience wants the same thing–a fast pace.

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Cinema has lost the long deep focused take, which implies body language and allowed meaningful staging to be employed. Intensified continuity had evolved beyond classical requirements to create new exciting visuals, however pushing or breaking classical rules risks spatial or temporal discontinuity, a problem many film theorists believe has pushed boundaries. In classical continuity the editing process was more absorbed in creating an illusion of time and space to satisfy the desire for realism, however intensified continuity struggles to do this as we become aware of its overt construction. The visuals are scattered and move at a high pace and the viewer is left with very little time to absorb each shot. The viewer is not allowed to be absorbed by the visuals. However, the new generation is now used to a “fast pace” and the success of Lord of the Rings, Avatar, Black Hawk Dawn, Die Hard, Speed, all suggest that this is the demand of the new generation and Hollywood has adapted to it.

 

“A paradox seems to emerge in the case of intensified continuity: it draws our attention to the screen exogenously, but at the same time it also blinds us to the formal reasons why our attention is being drawn. Our mental capacities/cerebral bandwidth are more taken up with trying to work out what is going on (following the story/narrative), than with working out why we are so aroused. “

References:

http://jennashortfilmblog.blogspot.co.uk/2011/12/intensified-continuity.html

http://www.jstor.org.ezproxy.westminster.ac.uk/stable/pdf/10.1525/fq.2002.55.3.16.pdf

http://www.davidbordwell.net/blog/2007/05/27/intensified-continuity-revisited 

 

 

 

 

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