1. Formulation of the Classical Hollywood Style The Classical Narrative

2. n CAUSE & EFFECT n Primitive period (1894-1908), most common framing the long shot n Impossible to see facial expressions & small gestures n Presented “too much” for viewer n With classical model, this changed n Multiple lines of action n Narrative material broken down n Editing, camera distance, inter-titles, acting articulated cause & effect

3. n CAUSE & EFFECT & REALISM n Basis of cause & effect narrative was compositional unity n Reality has accidents & coincidence; not the classical narrative n Realism important for mise-en-scène n The classical film begins in medias res n Begin in middle of action; we learn about characters & previous events through exposition n In primitive film, we learn little about characters or events before film began

4. n THE PSYCHOLOGICALLY BASED CHARACTER n Film turned toward literature for characters with multiple traits n These character traits were necessary to motivate action n Characters have only traits needed for the narrative n “Realistic” traits will motivate some later action or event

5. n SUBJECTIVITY n With increase in length & complexity, additional traits added n By 1915, mental subjectivity seen in some films n Earlier films had included subjectivity n Usually only as basis for entire film or when absolutely necessary n With classical film, portions of objective narrations could be subjective

6. n OTHER WAYS TO PERSONALIZE CHARACTERS n By 1909, most important characters were given names n By the mid-1920s, they were also given “tags” n Star system also helped to personalize characters

7. n CHARACTER GOALS n Characters in primitive films reacted to events; in classical films have clear goals n Goals met with obstacles n CHARACTER & TEMPORAL RELATIONS n As films became longer, plots initially covered more story time n But generally showed only “high points” n Temporal gaps marked with inter- titles

8. n Films began to cover less time n More, briefer, temporal gaps n Sought ways to make narration less self- conscious n This was solved in several ways: n Concentrating on character actions & goals n Technical devices marked deviations from chronological order n Fades or dissolves instead of superimpositions n Also motivated by the narrative n DEADLINE important to structuring temporal progression

9. n THE FUNCTIONS OF INTER-TITLES n EXPOSITORY TITLES n Common in primitive cinema n Summary expository titles n Establishing expository titles n In later silent era n “LITERARY” inter-title n The “ART” inter-title n Sometimes used to establish setting n Or used non-diegetic images to convey idea

14. n DIALOGUE TITLES (came later in primitive cinema, favored over expository titles) n Expository titles used at beginning of scenes, dialogue titles within scenes n INSERTS: Close-ups of letters, newspaper headlines or articles, photographs, etc.

15. n THE “AMERICAN” STYLE OF ACTING n 1909-1913, shift in acting style n More restrained style; emphasized facial expressions & small gestures n Improvements in film stocks, lighting equipment, make-up, etc.; better actors n Helped bring about CHC editing style: n Close-ups needed to fully utilize this style of acting n Breakdown of space required continuity rules

17. n UNITY & REDUNDANCY n All of these features appeared in the primitive cinema n But not used systematically with conventionalized meanings n Might use 1 of these features, & build the narrative around it n Classical cinema codified devices, used to create unified feature- length films, redundant narratives

18. Formulation of the Classical Hollywood Style The Continuity System

19. n THE CONTINUITY SYSTEM & SPACE n Editing increased as films became longer & more complicated n A potentially disruptive force n Required a system to maintain unity n After 1907, industry, trade press & “how-to” books promoted continuity as essential for a “well-made” film n Referred to both narrative continuity & clearly-articulated space & time n Continuity then came to refer specifically to editing guidelines

20. n ESTABLISHING SHOTS n Originally, films consisted of 1 long take with a fairly distant framing n Then, a number of these shots (tableaux) n No change in space or time within shots; changes between tableaux n Joined by expository inter-titles n With multiple shot scenes, these became establishing shots n Used to establish mise-en-scène & show most of the action n Came at beginning & end of scene; closer shots pointed out details, showed expressions, etc.

21. n By late teens, establishing shot functioned as in continuity editing system n 1 shot among many, established mise-en-scène n Scene itself consisted of a number of closer shots n Establishing shot appeared again only if mise-en-scène changed n Placement varied; not always at the beginning of the scene

22. n ANALYTICAL EDITING n IN THE PRIMITIVE ERA n Cut-ins used rarely n Most often medium shots, from same angle as establishing shot n They were used to: n Show facial expression n Show details not visible in the establishing shot n To indicate POV n To limit space for special effects n Cut-ins avoided if possible; actors moved closer to camera

23. n BY THE MID-TEENS n Cut-in became much more common n No longer had to be motivated by POV, a specific detail of information n Could be from any angle n Could give a better vantage point n Increase in film length & editing made cut-in more acceptable n By 1917, cut-in a staple of continuity editing system

24. n SCREEN DIRECTION & THE 180° RULE n Originally, no editing, therefore no problem n Later, 1-D sets & backdrops made it impossible to violate rule n Audience conceived of as if it were a theater audience n With analytical editing & 3-D sets, the tradition continued n Breaks in continuity occurred, but relatively rare n They occurred due to: n Shots taken out of continuity without script girls n The lack of formal guidelines

25. n MULTIPLE SPACES n CONTIGUOUS SPACES joined by character movement, eyeline match, shot/reverse shot system n NON-CONTIGUOUS SPACES n Most often articulated using crosscutting n Could compress time; important with short films Later, used to expand time; important with longer films Later, used to expand time; important with longer films

26. n SPACE & THE SPECTATOR’S ATTENTION n Attention of viewer guided using other elements of film style n STAGING IN DEPTH n Actors began to move toward the camera n After this, actors began to be placed more in depth n Helped bring the viewer into a 3-D space

27. n SETTINGS & DEPTH n Painted backdrops had advantages, but lacked verisimilitude n As soon as studios could afford 3-D sets, they did so n Late 20s, efforts to eliminate difference between location & studio shots n 3-D sets allowed for more extensive analytical editing

28. n DEEP FOCUS CINEMATOGRAPHY n During most of silent period, efforts to achieve greatest depth of field n But only 2 planes were in deep focus (middle ground & background) n Deep focus made staging in depth possible n However, lighting was needed to draw this attention

29. n LIGHTING FOR CLARITY & DEPTH n During teens, movement away from even, overall illumination & towards selective lighting n An effort to motivate light as coming from diegetic sources n Hollywood refined backlighting, creating “rim” lighting

30. n FRAMING AS A GUIDE FOR THE SPECTATOR n Classical cinema centered important narrative information n Camera movement began as a way to center action in frame (reframing) n Served other functions also: n Tracking & panning to follow actions n Panning & tilting to reveal or conceal information n With increased planning of shots, camera movement not as necessary

31. n STABILITY AFTER 1917 n By mid-20s, CHC style reached a high degree of stability n Many models to follow n Young filmmakers in 1920s had films as their models n Informal apprenticeship program n Trade papers, instructional manuals, etc. perpetuated style n Trade organizations also helped to perpetuate CHC style n Adherence to “quality filmmaking” rewarded by audiences & studio heads

32. n CONTEMPORARY RECOGNITION OF STANDARDIZATION n Standardization regarded as a positive force n Early years regarded as a separate era n Progress “halted” now that “near perfection” had been attained n After this point, changes in CHC style relatively small n Minor changes such as increased graphic continuity n Assimilation (& “taming”) of other styles

33. Clara Bow, the “It” Girl