AMERICAN FILM: THE CLASSICAL HOLLYWOOD CINEMA (CHC)
I. THE CHC DEPENDS UPON A SPECIFIC TYPE OF NARRATIVE
A. The CAUSAL AGENTS of the action are individual characters
B. Characters have specific GOALS; goals lead to CONFLICTS; conflicts lead to
CHANGES in the status of the characters
C. There are usually 2 distinct lines of ACTION; 1 that deals with heterosexual
ROMANCE, 1 that deals with another sphere, often WORK-RELATE
D. CLOSURE; Loose ends will be tied up, goals achieved, conflicts resolved
II. The Style of the CHC
A. CONTINUITY EDITING ("invisible editing")
1. FUNCTION OF CONTINUITY EDITING
a. Editing is a potentially disruptive force; changes our view from 1 part
of the mise-en-scène to another
b. Continuity editing minimizes disruption, ensures NARRATIVE
CONTINUITY
B. GRAPHICS
1. Kept similar from shot to shot to avoid the disruption
2. Lighting, figure placement, etc. are also kept similar shot to shot
C. RHYTHMIC RELATIONS usually will not be emphasized
1. The length of a take is dependant on camera distance
2. Long shots usually on screen longer than closer shots
D. SPATIAL CONTINUITY
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1. The 180° DEGREE SYSTEM
a. Mise-en-scène & camera are arranged to establish & sustain an
imaginary line, or axis of action
b. Determined by the position of the 2 main characters in the shot, car
travelling, person walking, etc.
c. 180° Rule dictates that the camera may not CUT from 1 side of the
line to the other
d. Functions of the 180° Rule
i. Ensures common space from shot to shot, ensures constant screen
direction, clearly delineates space
ii. We always know where the characters are in relation to 1
another, where we are in relation to the characters
e. Ways to cross the line:
i. The camera may track across it (the rule can only be violated
through cutting
ii. Or the characters may move to change the line
iii. Or the camera may cut to a position ON the line before cutting to
the other side
iv. Violations are sometimes allowed in certain settings: doorways,
staircases, etc.
2. SHOT/REVERSE SHOT
a. Cutting from 1 end of the line to the other, back & forth
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b. Used especially in conversations, often keeps the shoulder of 1
character in the shot of the other
3. EYELINE MATCH; Creates the impression of spatial continuity when 2
characters are not in the same shot
a. Shot A shows a person looking offscreen, shot B shows us what is
being looked at
b. In neither shot are both looker & object shown
4. ESTABLISHMENT/BREAKDOWN/REESTABLISHMENT
a. Space is established with an ESTABLISHING SHOT, showing all the
characters & the setting
b. Broken down with closer shots, showing important narrative details
c. Re-established with a long shot when a new character enters scene
d. A scene usually begins with establishing shot, ends with close-up
5. MATCH ON ACTION
a. Shot A shows the beginning of a movement
b. Shot B shows continuation, with at least 30° shift in camera position
c. Involvement with narrative prevents us from being distracted by cut
6. CHEAT CUT
a. Imperfect continuity from 1 shot to the next
b. Narrative motivation should prevent us from noticing difference
E. TEMPORAL CONTINUITY
1. ORDER
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a. In CHC, events usually presented in chronological order, only once
b. Only exception is the flashback (or flashforward; rare)
i. Signalled by a cut or dissolve
ii. Motivated by the narrative
2. FREQUENCY
a. Events almost always happen only once
b. If events are repeated, motivated by the narrative (flashback of
something we have already seen) & signalled by a cut or dissolve
3. DURATION often varies
a. Plot time rarely longer than story time
b. Usually in complete continuity (plot time = story time) or story time
is omitted (plot time < story time)
i. Time can be omitted within scenes
ii. However, time usually omitted between scenes
III. RELATIONSHIP BETWEEN STYLE & NARRATIVE
A. The logic & linearity of the narrative is most important to the CHC, with
clear construction of space & time
B. The audience is not supposed to be distracted by the style
C. The CHC emphasizes the clear transmission of narrative information
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