...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