附录B 外文原文
The evolution of pace in popular movies
Background
Every shade of feeling and emotion which fills the spectatorrsquo;s mind can mold the scenes in a movie until they appear the embodiment of our feelings.If this is the outcome of esthetic analysis on the one side, of psychological research on the other, we need only combine the results of both into a unified principle: the [movie] tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion.
Movies, psychology, and pace
Movies were the increasingly large audiences that viewed them in the 1910s. Moreover, throughout the intervening century, movies have never lost their grip on popular culture, and, with mobile technologies, they have become more prevalent than ever. The British Film Institute estimated that the average citizen in the United Kingdom sees more than 80 films per year. Although this estimate seems overly enthusiastic, it bespeaks an impressive penetration of film media into everyday life. Popular films have become mind candy. In addition, few art forms have changed as much as movies over the last 100 years. Some of the literature addressing this change has focused on technology, and there are numerous textbooks and monographs that have traced cultural, economic, and political changes from the silent era to the present (see, for example, Christiansen, 1987; Kelley, 1998; Kolker, 2006; Thompson amp; Bordwell, 2010). There are also treatments of the changes in physical attributes of movies, both qualitative and quantitative (Bordwell, Staiger, amp; Thompson, 1985; Cutting, DeLong, amp; Brunick, 2011; Cutting, DeLong, Brunick, Iricinschi, amp; Candan, 2011). Heretofore, however, there have been no treatments of the psychologically relevant changes in these variables as they are arrayed over the length of entire films. This article considers three dynamic patterns that are now meshed with psychological principles of attention and emotion. Before addressing them, however, let me establish some important terms from the filmmaking and film studies literatures that are pertinent to this discussion.
Terms
Film style is the collection of all aspects of the craft of making movies. Filmmakers make choices about editing (varying the length and ordering shots), staging (positioning actors in front of the camera and controlling the setting behind them), framing (how much of the actors versus the background can be seen in the image, called shot scale), sound (controlling conversation, background noise, sound effects, and diegetic versus nondiegetic [background] music), camera motion, lighting, focus, color, and more. Syuzhet is the Russian Formalist term for the surface form of a movie-the particular lighting, sounds, and other aspects of film style that have been chosen and used over the course of a particular movie. Other terms used for this notion are plot, discourse, and narration, but I find that each of these can lead to confusion-plot can imply synopsis and ignore film style, discourse can imply just the spoken language, and narration can imply a narrator. None of these implications is intended here. The syuzhet is the film-length, presentational, content-free form of the movie selected from among the panoply of possibilities within film style. Fabula is the Russian Formalist term for the underlying story. The most common other terms used in this context are narrative and, of course, story. Story and narrative are perfectly acceptable synonyms, so I will use them here as well. The fabula is all about content. Importantly, just as the art of writing a novel is in the conversion of ideas into words on a page, Shklovsky suggested that the art of filmmaking is in the conversion of the fabula into the syuzhet. Pace and rhythm are both words used in discussions of editing. They are difficult to distinguish, so I wonrsquo;t try and instead will focus mostly on pace. D. W. Griffith, the esteemed early American filmmaker, may have been first to discuss pace in the context of movies. “For its ability thus to lift its patrons out of commonplace existence, and bear them hither and yon on Bagdad [sic] carpets to realms of adventure and romance, the [movie] depends upon pace”. Beyond this flowery prose and other than some concrete suggestions about shot duration and some oblique references to motion, Griffith was a little vague about what he meant by pace. Pearlman added clarity. She suggested that pacing refers “to three distinct operations: the rate of cutting, the rate or concentration of movement or change in shots and sequences, and the rate of movement or events over the course of the whole film.” These tasks of editing all entail manipulations of the syuzhet. Bordwell and Thompson drew an analogy between pace in film and tempo in music. Tempo, of course, is about time and timing, but it is also more. The musical tempo marking of allegro means “fast, quickly, and bright”; that of vivace means “lively and fast”; and these can be modified with con fuoco (“with fire”) and others with misterioso or agitato and dozens more. As Rao noted, “Tempo has three elements: rhythm, emotion, and energy.” Applied to movies, Raorsquo;s notion would be that pace might be reflected in the temporal pattern of shot durations and in the energy reflected in a measure of motion-both part of Griffithrsquo;s (1926) and Pearlmanrsquo;s (2009) analyses-but also reflected in measures relevant to emotion, the aspect of film extolled most by Tan (1996) and by Murch (2001) strongly endorsed the centrality of emotion to editing. An Academy Award-winning editor and sound designer, Murch suggested that the foremost consideration in editing is that every shot must be true to the emotional force of the nar
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附录B 外文原文
The evolution of pace in popular movies
Background
Every shade of feeling and emotion which fills the spectatorrsquo;s mind can mold the scenes in a movie until they appear the embodiment of our feelings.If this is the outcome of esthetic analysis on the one side, of psychological research on the other, we need only combine the results of both into a unified principle: the [movie] tells us the human story by overcoming the forms of the outer world, namely, space, time, and causality, and by adjusting the events to the forms of the inner world, namely, attention, memory, imagination, and emotion.
Movies, psychology, and pace
Movies were the increasingly large audiences that viewed them in the 1910s. Moreover, throughout the intervening century, movies have never lost their grip on popular culture, and, with mobile technologies, they have become more prevalent than ever. The British Film Institute estimated that the average citizen in the United Kingdom sees more than 80 films per year. Although this estimate seems overly enthusiastic, it bespeaks an impressive penetration of film media into everyday life. Popular films have become mind candy. In addition, few art forms have changed as much as movies over the last 100 years. Some of the literature addressing this change has focused on technology, and there are numerous textbooks and monographs that have traced cultural, economic, and political changes from the silent era to the present (see, for example, Christiansen, 1987; Kelley, 1998; Kolker, 2006; Thompson amp; Bordwell, 2010). There are also treatments of the changes in physical attributes of movies, both qualitative and quantitative (Bordwell, Staiger, amp; Thompson, 1985; Cutting, DeLong, amp; Brunick, 2011; Cutting, DeLong, Brunick, Iricinschi, amp; Candan, 2011). Heretofore, however, there have been no treatments of the psychologically relevant changes in these variables as they are arrayed over the length of entire films. This article considers three dynamic patterns that are now meshed with psychological principles of attention and emotion. Before addressing them, however, let me establish some important terms from the filmmaking and film studies literatures that are pertinent to this discussion.
Terms
Film style is the collection of all aspects of the craft of making movies. Filmmakers make choices about editing (varying the length and ordering shots), staging (positioning actors in front of the camera and controlling the setting behind them), framing (how much of the actors versus the background can be seen in the image, called shot scale), sound (controlling conversation, background noise, sound effects, and diegetic versus nondiegetic [background] music), camera motion, lighting, focus, color, and more. Syuzhet is the Russian Formalist term for the surface form of a movie-the particular lighting, sounds, and other aspects of film style that have been chosen and used over the course of a particular movie. Other terms used for this notion are plot, discourse, and narration, but I find that each of these can lead to confusion-plot can imply synopsis and ignore film style, discourse can imply just the spoken language, and narration can imply a narrator. None of these implications is intended here. The syuzhet is the film-length, presentational, content-free form of the movie selected from among the panoply of possibilities within film style. Fabula is the Russian Formalist term for the underlying story. The most common other terms used in this context are narrative and, of course, story. Story and narrative are perfectly acceptable synonyms, so I will use them here as well. The fabula is all about content. Importantly, just as the art of writing a novel is in the conversion of ideas into words on a page, Shklovsky suggested that the art of filmmaking is in the conversion of the fabula into the syuzhet. Pace and rhythm are both words used in discussions of editing. They are difficult to distinguish, so I wonrsquo;t try and instead will focus mostly on pace. D. W. Griffith, the esteemed early American filmmaker, may have been first to discuss pace in the context of movies. “For its ability thus to lift its patrons out of commonplace existence, and bear them hither and yon on Bagdad [sic] carpets to realms of adventure and romance, the [movie] depends upon pace”. Beyond this flowery prose and other than some concrete suggestions about shot duration and some oblique references to motion, Griffith was a little vague about what he meant by pace. Pearlman added clarity. She suggested that pacing refers “to three distinct operations: the rate of cutting, the rate or concentration of movement or change in shots and sequences, and the rate of movement or events over the course of the whole film.” These tasks of editing all entail manipulations of the syuzhet. Bordwell and Thompson drew an analogy between pace in film and tempo in music. Tempo, of course, is about time and timing, but it is also more. The musical tempo marking of allegro means “fast, quickly, and bright”; that of vivace means “lively and fast”; and these can be modified with con fuoco (“with fire”) and others with misterioso or agitato and dozens more. As Rao noted, “Tempo has three elements: rhythm, emotion, and energy.” Applied to movies, Raorsquo;s notion would be that pace might be reflected in the temporal pattern of shot durations and in the energy reflected in a measure of motion-both part of Griffithrsquo;s (1926) and Pearlmanrsquo;s (2009) analyses-but also reflected in measures relevant to emotion, the aspect of film extolled most by Tan (1996) and by Murch (2001) strongly endorsed the centrality of emotion to editing. An Academy Award-winning editor and sound designer, Murch suggested that the foremost consideration in editing is that every shot must be true to the emotional force of the nar
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