“In the art cinema, for instance, shifts between ‘objective’ action and ‘subjective’ moments are often not signaled by the narration. This creates a suppressed gap which we retrospectively try to…
Another work from Borwell within his broader project of doing aesthetic/formal film history that doesn’t discount the industrial or economic aspects but nevertheless insists that aesthetics on its own demands…
For my purposes, I only cursorily read the bulk of this and focused on chapter 30, “Since 1960: the persistence of a mode of film practice.” Bordwell/Thompson/Staiger’s method is scientific…
