The Circular Camera Movement: Style, Narration, and Embodiment

Research output: Contribution to journal › Journal article › Research › peer-review

Standard

The Circular Camera Movement : Style, Narration, and Embodiment. / Hansen, Lennard Højbjerg.

In: Projections: The Journal for Movies and Mind, Vol. 8, No. 2, 4, 2014, p. 71-88.

Research output: Contribution to journal › Journal article › Research › peer-review

Harvard

Hansen, LH 2014, 'The Circular Camera Movement: Style, Narration, and Embodiment', Projections: The Journal for Movies and Mind, vol. 8, no. 2, 4, pp. 71-88. https://doi.org/10.3167/proj.2014.080205

APA

Hansen, L. H. (2014). The Circular Camera Movement: Style, Narration, and Embodiment. Projections: The Journal for Movies and Mind, 8(2), 71-88. [4]. https://doi.org/10.3167/proj.2014.080205

Vancouver

Hansen LH. The Circular Camera Movement: Style, Narration, and Embodiment. Projections: The Journal for Movies and Mind. 2014;8(2):71-88. 4. https://doi.org/10.3167/proj.2014.080205

Author

Hansen, Lennard Højbjerg. / The Circular Camera Movement : Style, Narration, and Embodiment. In: Projections: The Journal for Movies and Mind. 2014 ; Vol. 8, No. 2. pp. 71-88.

Bibtex

@article{f9e5859e46484a91b3ff2d922f04d67c,
title = "The Circular Camera Movement: Style, Narration, and Embodiment",
abstract = " It has been an accepted precept in film theory that specific stylistic features do not express specific content. Nevertheless, it is possible to find many examples in the history of film in which stylistic features do express specific content: for instance, the circular camera movement is used repeatedly to convey the feeling of a man and a woman falling in love. This raises the question of why producers and directors choose certain stylistic features to narrate certain categories of content. Through the analysis of several short film and TV clips, this article explores whether or not there are perceptual aspects related to specific stylistic features that enable them to be used for delimited narrational purposes. The article further attempts to reopen this particular stylistic debate by exploring the embodied aspects of visual perception in relation to specific stylistic features such as the circular camera movement.Keywords: embodied perception, embodied style, explicit narration, interpretation, style pattern, television style",
keywords = "Faculty of Humanities, Circular camera movement, {\ae}sthetics, film, television, style, embodiment",
author = "Hansen, {Lennard H{\o}jbjerg}",
year = "2014",
doi = "10.3167/proj.2014.080205",
language = "English",
volume = "8",
pages = "71--88",
journal = "Projections (New York)",
issn = "1934-9688",
publisher = "Berghahn Books",
number = "2",

}

RIS

TY - JOUR

T1 - The Circular Camera Movement

T2 - Style, Narration, and Embodiment

AU - Hansen, Lennard Højbjerg

PY - 2014

Y1 - 2014

N2 - It has been an accepted precept in film theory that specific stylistic features do not express specific content. Nevertheless, it is possible to find many examples in the history of film in which stylistic features do express specific content: for instance, the circular camera movement is used repeatedly to convey the feeling of a man and a woman falling in love. This raises the question of why producers and directors choose certain stylistic features to narrate certain categories of content. Through the analysis of several short film and TV clips, this article explores whether or not there are perceptual aspects related to specific stylistic features that enable them to be used for delimited narrational purposes. The article further attempts to reopen this particular stylistic debate by exploring the embodied aspects of visual perception in relation to specific stylistic features such as the circular camera movement.Keywords: embodied perception, embodied style, explicit narration, interpretation, style pattern, television style

AB - It has been an accepted precept in film theory that specific stylistic features do not express specific content. Nevertheless, it is possible to find many examples in the history of film in which stylistic features do express specific content: for instance, the circular camera movement is used repeatedly to convey the feeling of a man and a woman falling in love. This raises the question of why producers and directors choose certain stylistic features to narrate certain categories of content. Through the analysis of several short film and TV clips, this article explores whether or not there are perceptual aspects related to specific stylistic features that enable them to be used for delimited narrational purposes. The article further attempts to reopen this particular stylistic debate by exploring the embodied aspects of visual perception in relation to specific stylistic features such as the circular camera movement.Keywords: embodied perception, embodied style, explicit narration, interpretation, style pattern, television style

KW - Faculty of Humanities

KW - Circular camera movement, æsthetics, film, television, style, embodiment

U2 - 10.3167/proj.2014.080205

DO - 10.3167/proj.2014.080205

M3 - Journal article

VL - 8

SP - 71

EP - 88

JO - Projections (New York)

JF - Projections (New York)

SN - 1934-9688

IS - 2

M1 - 4

ER -

ID: 130323307