TAILIEUCHUNG - THE CHANGING POETICS OF THE DISSOLVE IN HOLLYWOOD FILM

Nonetheless, film did not start out well meshed with human perceptual and cognitive systems. Instead, it has evolved slowly over the last 120 years. Early in the 20th century, frame presentation rates were increased to make the flicker of the successive images less aversive. At the same time cuts, dissolves, and fades were used to denote shots within the same scene, across scenes, and across larger filmsegments (acts), respectively. But later the use of dissolves and fades as visual cues to filmstructure was found to be largely unnecessary. Since the 1970s almost 99% of all transitions between shots in popular film are now cuts (Cutting et al. | EMPIRICAL STUDIES OF THE ARTS Vol. 29 2 149-169 2011 THE CHANGING POETICS OF THE DISSOLVE IN HOLLYWOOD FILM JAMES E. CUTTING KAITLIN L. BRUNICK JORDAN E. Delong Cornell University New York ABSTRACT Most films contain many shots knit together by several types of transitions and by far the most prevalent is the cut. Over the last 70 years fades and wipes have become increasingly rare. Dissolves have also diminished in frequency but unlike the others they remain an important part of the general visual narrative and have shown a small increase in contemporary film. We tracked the usage of dissolves in 150 films released from 1935 to 2005. We found a that after a lull between 1970 and 1990 dissolves have become more numerous although not nearly so common as during the studio era b that shots surrounding single dissolves are fairly long compared to the median shot lengths of a given film suggesting visual preparation for scene change before a dissolve and a re-acceleration after and c that after their nadir dissolves have increasingly reappeared in clusters reflecting a rebirth of the Hollywood montage. We also discuss the functions and meanings of these montage sequences in the stream of a film s narrative with more contemporary films focusing on setups altered mental states and celebrations rather than older films focus on travel and time gaps of various sizes. The function of the dissolve is mainly to facilitate transition. In its simplest form it can carry us from one place to another or from one time to another. In complex clusters such as the Hollywood montage the dissolve is the filmmaker s time machine transporting the viewer instantly backward or forward in time and location at his will. In more sophisticated use dissolves aid greatly in the manipulation of pace andmood. Dmytryk 1984 pp. 83-84 149 2011 Baywood Publishing Co. Inc. doi http 150 CUTTING BRUNICK AND Delong Although the oldest films are composed of a single shot almost .

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