A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics

The field of study we visit in this article is the history of editing. Specifically, we look at D.W. Griffith’s essay “Pace in the Movies” (1926) which says that specific scenes in films must be edited with specific shot lengths in mind. In a model movie cuts between shots must come with a wavelike...

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Main Author: Mike Baxter | Daria Khitrova | Yuri Tsivian
Format: Article
Language:English
Published: Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel 2016-04-01
Series:Mise au Point
Subjects:
Online Access:http://journals.openedition.org/map/2108
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author Mike Baxter | Daria Khitrova | Yuri Tsivian
author_facet Mike Baxter | Daria Khitrova | Yuri Tsivian
author_sort Mike Baxter | Daria Khitrova | Yuri Tsivian
collection DOAJ
description The field of study we visit in this article is the history of editing. Specifically, we look at D.W. Griffith’s essay “Pace in the Movies” (1926) which says that specific scenes in films must be edited with specific shot lengths in mind. In a model movie cuts between shots must come with a wavelike frequency, Griffith insists, and offers his recipe as to the perfect wave curve within the duration of the film. Griffith’s post-analysis based on his experience as a director and editor has caused a controversy among modern-day film historians. Some use it as an argument in favor of numeric approaches to film style; others doubt whether it was Griffith who authored this idea, and if it was, whether Griffith meant what he meant.
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spelling doaj.art-7ba8c1db43fb45549b56274a3283c41b2022-12-22T00:23:52ZengAssociation Française des Enseignants et Chercheurs en Cinéma et AudiovisuelMise au Point2261-96232016-04-01810.4000/map.2108A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at CinemetricsMike Baxter | Daria Khitrova | Yuri TsivianThe field of study we visit in this article is the history of editing. Specifically, we look at D.W. Griffith’s essay “Pace in the Movies” (1926) which says that specific scenes in films must be edited with specific shot lengths in mind. In a model movie cuts between shots must come with a wavelike frequency, Griffith insists, and offers his recipe as to the perfect wave curve within the duration of the film. Griffith’s post-analysis based on his experience as a director and editor has caused a controversy among modern-day film historians. Some use it as an argument in favor of numeric approaches to film style; others doubt whether it was Griffith who authored this idea, and if it was, whether Griffith meant what he meant.http://journals.openedition.org/map/2108D. W. Griffithcinemetricsfilm historyshot lengthscutting patterns
spellingShingle Mike Baxter | Daria Khitrova | Yuri Tsivian
A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics
Mise au Point
D. W. Griffith
cinemetrics
film history
shot lengths
cutting patterns
title A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics
title_full A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics
title_fullStr A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics
title_full_unstemmed A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics
title_short A Numerate Film History? Cinemetrics Looks at Griffith, Griffith Looks at Cinemetrics
title_sort numerate film history cinemetrics looks at griffith griffith looks at cinemetrics
topic D. W. Griffith
cinemetrics
film history
shot lengths
cutting patterns
url http://journals.openedition.org/map/2108
work_keys_str_mv AT mikebaxterdariakhitrovayuritsivian anumeratefilmhistorycinemetricslooksatgriffithgriffithlooksatcinemetrics
AT mikebaxterdariakhitrovayuritsivian numeratefilmhistorycinemetricslooksatgriffithgriffithlooksatcinemetrics