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The Empathic ScreenCinema and Neuroscience$
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Vittorio Gallese and Michele Guerra

Print publication date: 2019

Print ISBN-13: 9780198793533

Published to Oxford Scholarship Online: November 2019

DOI: 10.1093/oso/9780198793533.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 26 September 2021

Cut and Harmony

Cut and Harmony

Chapter:
(p.117) 4 Cut and Harmony
Source:
The Empathic Screen
Author(s):

Vittorio Gallese

Michele Guerra

, Frances Anderson
Publisher:
Oxford University Press
DOI:10.1093/oso/9780198793533.003.0004

This chapter deals with montage. The subheadings are “Calumet City,” a discussion of parallel montage in Jonathan Demme’s The Silence of the Lambs from the authors’ perspective; “Continuity,” in which continuity editing is addressed in relation to several film scholars and authors, including Joseph Anderson, Lev Kuleshov, and Jean Epstein; “Action, action, action!,” where the role of action in montage is addressed by referring to early American film theory, introducing and discussing authors such as Victor Freeburg, Hugo Münstenberg, Henry Albert Phillips, and Epes Winthrop Sargent; and “The mirror crack’d,” which introduces and discusses the empirical neuroscientific results of the authors’ high-density electroencephalography experiment on montage, where continuity editing and jump-cuts are compared.

Keywords:   action, American film theory, continuity editing, cuts, Demme, discontinuity editing, electroencephalography (EEG), event-related potentials (ERPs), montage, 180-degree rule

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