Formulation of the Formulation of the Classical Hollywood StyleClassical Hollywood Style

The Classical NarrativeThe Classical Narrative

CAUSE & EFFECTCAUSE & EFFECT Primitive period (1894-1908), most Primitive period (1894-1908), most

common framing the long shotcommon framing the long shot Impossible to see facial Impossible to see facial

expressions & small gesturesexpressions & small gestures Presented “too much” for viewerPresented “too much” for viewer

With classical model, this changedWith classical model, this changed Multiple lines of actionMultiple lines of action Narrative material broken downNarrative material broken down Editing, camera distance, inter-Editing, camera distance, inter-

titles, acting articulated cause & titles, acting articulated cause & effecteffect

CAUSE & EFFECT & REALISMCAUSE & EFFECT & REALISM Basis of cause & effect narrative was Basis of cause & effect narrative was

compositional unitycompositional unity Reality has accidents & coincidence; Reality has accidents & coincidence;

not the classical narrativenot the classical narrative Realism important for mise-en-scèneRealism important for mise-en-scène

The classical film begins The classical film begins in medias resin medias res Begin in middle of action; we learn Begin in middle of action; we learn

about characters & previous events about characters & previous events through expositionthrough exposition

In primitive film, we learn little about In primitive film, we learn little about characters or events before film characters or events before film beganbegan

THE PSYCHOLOGICALLY BASED THE PSYCHOLOGICALLY BASED CHARACTERCHARACTER

Film turned toward literature for Film turned toward literature for characters with multiple traitscharacters with multiple traits

These character traits were These character traits were necessary to motivate actionnecessary to motivate action

Characters have only traits Characters have only traits needed for the narrativeneeded for the narrative

““Realistic” traits will motivate Realistic” traits will motivate some later action or eventsome later action or event

SUBJECTIVITYSUBJECTIVITY With increase in length & With increase in length &

complexity, additional traits addedcomplexity, additional traits added By 1915, mental subjectivity seen By 1915, mental subjectivity seen

in some filmsin some films Earlier films had included Earlier films had included

subjectivitysubjectivity Usually only as basis for entire Usually only as basis for entire

film or when absolutely film or when absolutely necessarynecessary

With classical film, portions of With classical film, portions of objective narrations could be objective narrations could be subjectivesubjective

OTHER WAYS TO PERSONALIZE OTHER WAYS TO PERSONALIZE CHARACTERSCHARACTERS

By 1909, most important By 1909, most important characters were given namescharacters were given names

By the mid-1920s, they were By the mid-1920s, they were also given “tags”also given “tags”

Star system also helped to Star system also helped to personalize characterspersonalize characters

CHARACTER GOALSCHARACTER GOALS Characters in primitive films reacted Characters in primitive films reacted

to events; in classical films have to events; in classical films have clear goalsclear goals

Goals met with obstaclesGoals met with obstacles CHARACTER & TEMPORAL RELATIONSCHARACTER & TEMPORAL RELATIONS

As films became longer, plots As films became longer, plots initially covered more story timeinitially covered more story time

But generally showed only “high But generally showed only “high points”points”

Temporal gaps marked with inter-Temporal gaps marked with inter-titlestitles

Films began to cover less timeFilms began to cover less time More, briefer, temporal gapsMore, briefer, temporal gaps Sought ways to make narration less Sought ways to make narration less

self-consciousself-conscious This was solved in several ways:This was solved in several ways:

Concentrating on character actions Concentrating on character actions & goals& goals

Technical devices marked Technical devices marked deviations from chronological orderdeviations from chronological order

Fades or dissolves instead of Fades or dissolves instead of superimpositionssuperimpositions

Also motivated by the narrativeAlso motivated by the narrative DEADLINE important to structuring DEADLINE important to structuring

temporal progression temporal progression

THE FUNCTIONS OF INTER-TITLESTHE FUNCTIONS OF INTER-TITLES EXPOSITORY TITLESEXPOSITORY TITLES

Common in primitive cinemaCommon in primitive cinema Summary expository titlesSummary expository titles Establishing expository titlesEstablishing expository titles

In later silent eraIn later silent era ““LITERARY” inter-titleLITERARY” inter-title The “ART” inter-titleThe “ART” inter-title Sometimes used to establish Sometimes used to establish

settingsetting Or used non-diegetic images Or used non-diegetic images

to convey ideato convey idea

DIALOGUE TITLES (came later DIALOGUE TITLES (came later in primitive cinema, favored in primitive cinema, favored over expository titles)over expository titles)

Expository titles used at Expository titles used at beginning of scenes, dialogue beginning of scenes, dialogue titles within scenestitles within scenes

INSERTS: Close-ups of letters, INSERTS: Close-ups of letters, newspaper headlines or newspaper headlines or articles, photographs, etc.articles, photographs, etc.

THE “AMERICAN” STYLE OF ACTINGTHE “AMERICAN” STYLE OF ACTING 1909-1913, shift in acting style1909-1913, shift in acting style

More restrained style; emphasized More restrained style; emphasized facial expressions & small gesturesfacial expressions & small gestures

Improvements in film stocks, Improvements in film stocks, lighting equipment, make-up, etc.; lighting equipment, make-up, etc.; better actorsbetter actors

Helped bring about CHC editing style:Helped bring about CHC editing style: Close-ups needed to fully utilize Close-ups needed to fully utilize

this style of actingthis style of acting Breakdown of space required Breakdown of space required

continuity rules continuity rules

UNITY & REDUNDANCYUNITY & REDUNDANCY All of these features appeared in All of these features appeared in

the primitive cinemathe primitive cinema But not used systematically with But not used systematically with

conventionalized meaningsconventionalized meanings Might use 1 of these features, & Might use 1 of these features, &

build the narrative around itbuild the narrative around it Classical cinema codified devices, Classical cinema codified devices,

used to create unified feature-used to create unified feature-length films, redundant narrativeslength films, redundant narratives

Formulation of the Classical Formulation of the Classical Hollywood StyleHollywood Style

The Continuity SystemThe Continuity System

THE CONTINUITY SYSTEM & SPACETHE CONTINUITY SYSTEM & SPACE Editing increased as films became Editing increased as films became

longer & more complicatedlonger & more complicated A potentially disruptive forceA potentially disruptive force Required a system to maintain unityRequired a system to maintain unity

After 1907, industry, trade press & After 1907, industry, trade press & “how-to” books promoted “how-to” books promoted continuitycontinuity as as essential for a “well-made” filmessential for a “well-made” film

Referred to both narrative continuity Referred to both narrative continuity & clearly-articulated space & time& clearly-articulated space & time

ContinuityContinuity then came to refer then came to refer specifically to editing guidelinesspecifically to editing guidelines

ESTABLISHING SHOTSESTABLISHING SHOTS Originally, films consisted of 1 long take Originally, films consisted of 1 long take

with a fairly distant framing with a fairly distant framing Then, a number of these shots (Then, a number of these shots (tableauxtableaux))

No change in space or time No change in space or time withinwithin shots; changes shots; changes betweenbetween tableaux tableaux

Joined by expository inter-titlesJoined by expository inter-titles With multiple shot scenes, these became With multiple shot scenes, these became

establishing shotsestablishing shots Used to establish mise-en-scène & Used to establish mise-en-scène &

show most of the actionshow most of the action Came at beginning & end of scene; Came at beginning & end of scene;

closer shots pointed out details, closer shots pointed out details, showed expressions, etc.showed expressions, etc.

By late teens, establishing shot By late teens, establishing shot functioned as in continuity functioned as in continuity editing systemediting system

1 shot among many, 1 shot among many, established mise-en-scèneestablished mise-en-scène

Scene itself consisted of a Scene itself consisted of a number of closer shotsnumber of closer shots

Establishing shot appeared Establishing shot appeared again only if mise-en-scène again only if mise-en-scène changedchanged

Placement varied; not always Placement varied; not always at the beginning of the sceneat the beginning of the scene

ANALYTICAL EDITINGANALYTICAL EDITING IN THE PRIMITIVE ERAIN THE PRIMITIVE ERA

Cut-ins used rarelyCut-ins used rarely Most often medium shots, from Most often medium shots, from

same angle as establishing shotsame angle as establishing shot They were used to:They were used to:

Show facial expressionShow facial expression Show details not visible in the Show details not visible in the

establishing shotestablishing shot To indicate POVTo indicate POV To limit space for special effectsTo limit space for special effects

Cut-ins avoided if possible; actors Cut-ins avoided if possible; actors moved closer to cameramoved closer to camera

BY THE MID-TEENSBY THE MID-TEENS Cut-in became much more commonCut-in became much more common No longer had to be motivated by No longer had to be motivated by

POV, a specific detail of informationPOV, a specific detail of information Could be from any angleCould be from any angle Could give a better vantage pointCould give a better vantage point

Increase in film length & editing Increase in film length & editing made cut-in more acceptablemade cut-in more acceptable

By 1917, cut-in a staple of By 1917, cut-in a staple of continuity editing systemcontinuity editing system

SCREEN DIRECTION & THE 180° RULESCREEN DIRECTION & THE 180° RULE Originally, no editing, therefore no Originally, no editing, therefore no

problemproblem Later, 1-D sets & backdrops made it Later, 1-D sets & backdrops made it

impossible to violate ruleimpossible to violate rule Audience conceived of as if it were a Audience conceived of as if it were a

theater audiencetheater audience With analytical editing & 3-D sets, the With analytical editing & 3-D sets, the

tradition continuedtradition continued Breaks in continuity occurred, but Breaks in continuity occurred, but

relatively rarerelatively rare They occurred due to:They occurred due to:

Shots taken out of continuity Shots taken out of continuity without script girlswithout script girls

The lack of formal guidelinesThe lack of formal guidelines

MULTIPLE SPACESMULTIPLE SPACES CONTIGUOUS SPACES joined by CONTIGUOUS SPACES joined by

character movement, eyeline character movement, eyeline match, shot/reverse shot match, shot/reverse shot systemsystem

NON-CONTIGUOUS SPACESNON-CONTIGUOUS SPACES Most often articulated using Most often articulated using

crosscuttingcrosscutting Could compress time; Could compress time;

important with short filmsimportant with short films Later, used to expand time; Later, used to expand time;

important with longer filmsimportant with longer films

SPACE & THE SPECTATOR’S SPACE & THE SPECTATOR’S ATTENTIONATTENTION

Attention of viewer guided using Attention of viewer guided using other elements of film styleother elements of film style

STAGING IN DEPTHSTAGING IN DEPTH Actors began to move toward Actors began to move toward

the camerathe camera After this, actors began to be After this, actors began to be

placed more in depthplaced more in depth Helped bring the viewer into a Helped bring the viewer into a

3-D space3-D space

SETTINGS & DEPTHSETTINGS & DEPTH Painted backdrops had Painted backdrops had

advantages, but lacked advantages, but lacked verisimilitudeverisimilitude

As soon as studios could As soon as studios could afford 3-D sets, they did soafford 3-D sets, they did so

Late 20s, efforts to eliminate Late 20s, efforts to eliminate difference between location difference between location & studio shots& studio shots

3-D sets allowed for more 3-D sets allowed for more extensive analytical editingextensive analytical editing

DEEP FOCUS DEEP FOCUS CINEMATOGRAPHYCINEMATOGRAPHY

During most of silent period, During most of silent period, efforts to achieve greatest efforts to achieve greatest depth of fielddepth of field

But only 2 planes were in But only 2 planes were in deep focus (middle ground & deep focus (middle ground & background)background)

Deep focus made staging in Deep focus made staging in depth possibledepth possible

However, lighting was However, lighting was needed to draw this attentionneeded to draw this attention

LIGHTING FOR CLARITY & DEPTHLIGHTING FOR CLARITY & DEPTH During teens, movement away During teens, movement away

from even, overall illumination from even, overall illumination & towards selective lighting& towards selective lighting

An effort to motivate light as An effort to motivate light as coming from diegetic sourcescoming from diegetic sources

Hollywood refined backlighting, Hollywood refined backlighting, creating “rim” lightingcreating “rim” lighting

FRAMING AS A GUIDE FOR THE FRAMING AS A GUIDE FOR THE SPECTATORSPECTATOR

Classical cinema centered Classical cinema centered important narrative informationimportant narrative information

Camera movement began as a Camera movement began as a way to center action in frame way to center action in frame (reframing)(reframing)

Served other functions also:Served other functions also: Tracking & panning to follow Tracking & panning to follow

actionsactions Panning & tilting to reveal or Panning & tilting to reveal or

conceal informationconceal information With increased planning of shots, With increased planning of shots,

camera movement not as camera movement not as necessarynecessary

STABILITY AFTER 1917STABILITY AFTER 1917 By mid-20s, CHC style reached a By mid-20s, CHC style reached a

high degree of stabilityhigh degree of stability Many models to followMany models to follow Young filmmakers in 1920s had Young filmmakers in 1920s had

films as their modelsfilms as their models Informal apprenticeship programInformal apprenticeship program Trade papers, instructional Trade papers, instructional

manuals, etc. perpetuated stylemanuals, etc. perpetuated style Trade organizations also helped Trade organizations also helped

to perpetuate CHC styleto perpetuate CHC style Adherence to “quality Adherence to “quality

filmmaking” rewarded by filmmaking” rewarded by audiences & studio headsaudiences & studio heads

CONTEMPORARY RECOGNITION OF CONTEMPORARY RECOGNITION OF STANDARDIZATIONSTANDARDIZATION

Standardization regarded as a Standardization regarded as a positive forcepositive force

Early years regarded as a Early years regarded as a separate eraseparate era

Progress “halted” now that Progress “halted” now that “near perfection” had been “near perfection” had been attainedattained

After this point, changes in CHC After this point, changes in CHC style relatively smallstyle relatively small

Minor changes such as Minor changes such as increased graphic continuityincreased graphic continuity

Assimilation (& “taming”) of Assimilation (& “taming”) of other stylesother styles

Clara Bow, the “It” GirlClara Bow, the “It” Girl