...no offense taken -- just an addition to the list of
strange spellings of my name. But with an asterisk: this is
a new one, and 'good' in so far as "wohl-" in German
denotes something positive - 

(-:

wolfgang

On Thu, 25 Aug 2016 17:59:40 -0400
 Joe Alvarez <[log in to unmask]> wrote:
> My apologies to Professor Hochbruck and the Forum for my
> error in naming him=
>  "Wohlbruck." I was just a bit careless and regret my
> error.
> 
> Thank you.
> 
> Joe Alvarez
> 900 Havel Court
> Charlotte, NC 28211-4253
> Telephone: 704.364.2844
> FAX: 704.364.9348
> 
> Sent from my iPad
> 
> > On Aug 25, 2016, at 12:09 PM, Bliss, Donald
> <[log in to unmask]> wrote:
> >=20
> > ----- Original Message -----
> > From: Glen M Johnson [mailto:[log in to unmask]]
> > Sent: Thursday, August 25, 2016 11:22 AM=3D0A=3D
> > To: [log in to unmask] <[log in to unmask]>
> > Subject: Re: Life on the Mississippi passage
> >=20
> > I don't know if anyone has made this correction:
> >=20
> > A jump cut in film is not a series of directional shots
> gradually moving
> > into a particular location. It is a "bad edit": the
> picture "jumps" in a
> > way that looks like a bad splice. As Wikipedia
> correctly puts it:
> > "sequential shots of the same subject are taken from
> camera positions that=
> 
> > vary only slightly. . . . gives the effect of jumping
> forwards in time."
> >=20
> > Jump cut is a meta- technique rooted in the old days
> when film broke and
> > was spliced by removing a few frames.
> >=20
> > The technique of moving in on a location through a
> series of ever-closer
> > shots is something different, traditional and
> conventional.
> >=20
> > To see the gradual-closing-in technique, look at the
> opening of Hitchcock'=
> s
> > "Shadow of a Doubt." To see jump cuts, see the newsreel
> at the start of
> > Welles's "Citizen Kane."
> >=20
> >=20
> > Glen M. Johnson
> > Professor and Chair of English
> > The Catholic University of America
> > Washington, DC  20064
> > 202 319-5488, 202 238-2028
> >=20
> > On Thu, Aug 25, 2016 at 11:09 AM, Wolfgang Hochbruck <
> > [log in to unmask]> wrote:
> >=20
> >> ...true -- and the LoM passage might be read as
> sequential
> >> jump-cuts alright. But a _really_ cameratic zoom-in is
> >> difficult to do in literary fiction (and i am still
> trying
> >> to figure out HOW Belasco did it at the beginning of
> _The
> >> Girl of the Golden West_). It is possible and has been
> done
> >> in stream-of-consciousness passages of modern novels,
> but
> >> in the 19th c. conventional syntax structures would
> still
> >> have blocked that route.
> >>=20
> >> best,
> >> w
> >>=20
> >> On Thu, 25 Aug 2016 09:58:25 -0500
> >> Kevin Mac Donnell <[log in to unmask]>
> wrote:
> >>> Are we talking about a zoom-in (a single camera
> moving
> >>> in) or a sequence of
> >>> jump cuts, each one closer to the scene of action?
> They
> >>> are not the same.
> >>>=20
> >>> Kevin
> >>> @
> >>> Mac Donnell Rare Books
> >>> 9307 Glenlake Drive
> >>> Austin TX 78730
> >>> 512-345-4139
> >>> Member: ABAA, ILAB
> >>> *************************
> >>> You may browse our books at:
> >>> www.macdonnellrarebooks.com
> >>>=20
> >>>=20
> >>> -----Original Message-----
> >>> From: Hal Bush
> >>> Sent: Thursday, August 25, 2016 7:56 AM
> >>> To: [log in to unmask]
> >>> Subject: Re: Life on the Mississippi passage
> >>>=20
> >>> Yes!  Joe & Wolfgang; even more specifically; a
> zoom-in,
> >>> establishing shot.
> >>>=20
> >>> Psycho!  good one!  also thought of:  The Birdcage
> >>> (terrific opening zoom
> >>> right into the club); Saturday Night Fever (not
> exactly
> >>> zoom in); The Dark
> >>> Knight; (are there others?)
> >>>=20
> >>> Alternatively: there is the amazing scene in Gandhi
> >>> zooming out from the
> >>> funeral.
> >>>=20
> >>> -hb
> >>>=20
> >>> On Thu, Aug 25, 2016 at 4:08 AM, Wolfgang Hochbruck <
> >>> [log in to unmask]> wrote:
> >>>=20
> >>>> ...actually, I feel like i should chime in here
> because
> >>> Joe said "Zoom
> >>>> in" first, and then "establishing shot", and he is
> >>> right on both counts,
> >>>> only that narratologically "establishing  shot" is
> the
> >>> general category,
> >>>> including also bird's eye, pan(orama) shot etc.  The
> >>> really wild thing
> >>>> is that what Twain uses here - and what Belasco
> adapted
> >>> for the theatre
> >>>> -- is really a cameratic technique before any camera
> >>> could do something
> >>>> like it. Like with a number of other developments,
> the
> >>> technology here
> >>>> followed the writer's imagination.
> >>>>=20
> >>>> best  wishes,
> >>>> w
> >>>>=20
> >>>> Prof. Dr. Wolfgang Hochbruck
> >>>> Department of English /
> >>>> Centre for Security and Society
> >>>> Albert Ludwigs University
> >>>> 15 Rempart St.
> >>>> D- 79098 Freiburg
> >>>>=20
> >>>> Am 25.08.2016 08:18, schrieb Joe Alvarez:
> >>>>> Establishing shot, that's probably the closest one
> >>> yet. The description
> >>>> from=3D3D
> >>>>>  Life on the Mississippi reminds me of the
> >>> opening--establishing
> >>>> shot--of Al=3D3D
> >>>>> fred Hitchcock's Psycho.
> >>>>>=20
> >>>>> Joe Alvarez
> >>>>> 900 Havel Court
> >>>>> Charlotte, NC 28211-4253
> >>>>> Telephone: 704.364.2844
> >>>>> FAX: 704.364.9348
> >>>>>=20
> >>>>> Sent from my iPad
> >>>>>=20
> >>>>>> On Aug 25, 2016, at 1:47 AM, Peter Salwen
> >>> <[log in to unmask]> wrote:
> >>>>>> =3D3D20
> >>>>>> What you called the"birds-eye view" might also be
> >>> called an
> >>>>>> establishing
> >>>>>> shot
> >>>>>> Not by Twain, though.
> >>>>>> =3D3D20
> >>>>>> On Aug 25, 2016 1:27 AM, "Joe Alvarez"
> >>> <[log in to unmask]>
> >>>> wrote:
> >>>>>> =3D3D20
> >>>>>> How about "zoom in"? That is what is happening in
> >>> your description.
> >>>>>> =3D3D20
> >>>>>> Joe Alvarez
> >>>>>> 900 Havel Court
> >>>>>> Charlotte, NC 28211-4253
> >>>>>> Telephone: 704.364.2844
> >>>>>> FAX: 704.364.9348
> >>>>>> =3D3D20
> >>>>>> Sent from my iPad
> >>>>>> =3D3D20
> >>>>>>> On Aug 24, 2016, at 8:33 PM, Wesley Britton
> >>> <[log in to unmask]>
> >>>> wrote:
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> I have a question about one passage in Life on
> the
> >>> Mississippi. I
> >>>> suspect=3D3D
> >>>>>> i=3D3D3D
> >>>>>> t
> >>>>>>> will be very familiar to many of you.
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> It's the passage where we first get a birds-eye
> >>> view of a place along
> >>>> the=3D3D
> >>>>>>> river before Twain narrows his focus to one town,
> >>> then one street,
> >>>>>>> then
> >>>>>> on=3D3D3D
> >>>>>> e
> >>>>>>> house, then a sleeping man on a porch.
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> Back in grad school, a professor used a term to
> >>> define this technique
> >>>> of
> >>>>>>> moving from the general to the specific, but I
> >>> can't figure out now
> >>>> what
> >>>>>>> term he meant.
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> Any ideas?
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>>>>> Dr. Wesley Britton
> >>>>>>> =3D3D3D20
> >>>>>>> Author, Beta-Earth Chronicles
> >>>>>>> =3D3D3D20
> >>>>>>> www.drwesleybritton.com
> >>>>>>> =3D3D3D20
> >>>>>>> =3D3D3D20
> >>>=20
> >>>=20
> >>>=20
> >>> --
> >>> Prof. Harold K. Bush
> >>> Professor of English
> >>> 3800 Lindell
> >>> Saint Louis University
> >>> St. Louis, MO  63108
> >>> 314-977-3616 (w); 314-771-6795 (h)
> >>> <www.slu.edu/x23809.xml>
> >>=20
> >> Prof. Dr. Wolfgang Hochbruck
> >> Dept. of English / Centre for Security and Society
> >> Albert Ludwigs University Freiburg
> >> Rempart St. 15
> >> D-79098 Freiburg
> >> Germany
> >>=20

Prof. Dr. Wolfgang Hochbruck
Dept. of English / Centre for Security and Society
Albert Ludwigs University Freiburg
Rempart St. 15
D-79098 Freiburg
Germany