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gri_2003_m_46_b06_f04_015

Transcribers

  1. 71787553 - jesseytucker
  2. WINNER - 72641061 - gailkoelker
  3. 72965620 - saffyre13
  4. 73016295 - melissaagill
  5. 73207675 - mcathzoo
  6. 73316262 - ewrightlittle

71787553 - jesseytucker

4 of distance from his materials'. Te novelist 'can count on
major advantages unavailable to the story writer: the accumu-
lated, unpredictable effects of prolonged characterization, the
independent momentum of a plot that becomes something more than a
mere frame for manipulation.' In the mechanistic story, and in
the portanteau film as we shall see, there is no creative dis-
tance and plot is rarely more than la mere frame for manipulation'.
The story and the authors are naively intertwined in a art-as-
the-mirror-of-life equation.
II
Episodic films may be divided into three categories.
Weekend at the Waldorf, Holiday Camp, Bank Holiday, Domenico
d'Augusto, and others suggest a vertical structure: the stories
are the consequence of urban overcrowding or of saturnalaian par-
ticipation in a festival. A kind of simultaneity is conveyed--
of stories unfolding concurrently in time--that is to say vertically.
A horizontal form is to be seen in La Ronde, Dead of Night,
Paisa, La citta se defende, and others. One main point of view
governs from these films, beyond that of a common site or occas-
ion (the vertical form). Attitudes to desire, fate, war emerge
so that the episodes contribute to ap oint of view which they con-
cretise or illustrate.
Finally, there is a class of episodic film in which the bits
remian distinct: this frm, seen at its simplest in the Somerset
Maugham films and in Full House, might be described as the
centrifugal film, or falling apart movie. These films offer no
gestalt. Sometimes a framework is forced onto the pieces to
make on point ultimately appear. A Letter to Three Wives and

WINNER - 72641061 - gailkoelker

4 of distance from his materials'. The novelist 'can count on major advantages unavailable to the story writer: the accumulated, unpredictable effects of prolonged characterization, the independent momentum of a plot that becomes something more than a mere frame for manipulation.' In the mechanistic story, and in the portmanteau film as we shall see, there is no creative distance and plot is rarely more that 'a mere frame for manipulation'. The story and the authors are naively intertwined in an art-as-the-mirror-of-life equation.
II
Episodic films may be divided into three categories.
Weekend at the Waldorf, Holiday Camp, Bank Holiday, Domenico d'Augusto, and others suggest a vertical structure: the stories are the consequence of urban overcrowding or of saturnalian participation in a festival. A kind of simultaneity is conveyed - of stories unfolding concurrently in time - that is to say vertically.
A horizontal form is to be seen in La Ronde, Dead of Night, Paisa, La citta se defende, and others. One main point of view governs from these films, beyond that of a common site or occasion (the vertical form). Attitudes to desire, fate, war emerge so that the episodes contribute to a point of view which they concetise or illustrate.
Finally, there is a class of episodic film in which the bits remain distinct: this form, seen at its simplest in the Somerset Maugham films and in Full House, might be described as the centrifugal film, or falling apart movie. These films offer no gestalt. Sometimes a framework is forced onto the pieces to make one point ultimately appear. A Letter to Three Wives and

72965620 - saffyre13

4 of distance from his materials'. The novelist 'can count on
major advantages unavailable to the story writer: the accumu-
lated, unpredictable effects of prolonged characterization, the
independent momentum of a plot that becomes something more than a
mere frame for manipulation.' In the mechanistic story, and in
the portmanteau film as we shall wee, there is no creative dis-
tance and plot is rarely more than la mere frame for manipulation'.
The story and the authors are naively intertwined in an art-as-
the-mirror-of-life equation.

II

Episodic films may be divided into three categories.
Weekend at the Waldorf, Holiday Camp, Bank Holiday, Domenico
d'Augusto, and other suggest a vertical structure: the stories
are the consequence of urban overcrowding or of saturnalian par-
ticipation in a festival. A kind of simultaneity is conveyed -
of stories unfolding concurrently in time - that is to say vertically.

A horizontal form is to be seen in La Ronde, Dead of Night,
Paisa, La citta se defende, and others. One main point of view
governs from these films, beyond that of a common site or occas-
ion (the vertical form). Attitudes to desire, fate, war emerge
so that the episodes contribute to a point of view which they
concretise or illustrate.

Finally, there is a class of episodic film in which the bits
remain distinct: this form, seen at its simplest in the Somerset
Maugham films in Full House, might be described as the
centrifugal film, or falling apart movie. These films offer no gestalt. Sometimes a framework is forced onto the pieces to
make one point ultimately appear. A Letter to Three Wives and

73016295 - melissaagill

1

73207675 - mcathzoo

4 of distance form his materials'. The novelist 'can count on major advantages unavailable to the story writer: the accumu-
lated, unpredictable efforts of prolonged characterization, the independent momentum of a plot that becomes something more than a mere frame for manipulation.' In the mechanistic story, and in the portmanteau film as we shall see, there is no creative dis-
stance and the plot is rarely more than 'a mere frame for manipulation.' The story and the authors are naively intertwined in an art-as-the-mirror-of life equation.

II
Episodic films may be directly divided into three categories. Weekend at the Waldorf, Holiday Camp, Bank Holiday, Domenico d'Augusto, and others suggest a vertical structure: the stories are the consequence of urban overcrowding or of saturnalian par-
ticipation in a festival. A kind of simultaneity is conveyed - of stories unfolding concurrently in time - that is to say vertically.
A horizon form is to be seen in La Ronde, Dead of Night, Paisa, La citta se defendo, and others. One main point of views governs from these films, beyond that of a common site or occas-
ion (the vertical form). Attitudes to desire, fate, war emerge so that the episodes contribute to a point of view which the con-
cretise or illustrate.
Finally, there is a class of episodic film in which the bits remain distinct: this form, seen at its simplest in the Somerset Maugham films and in Full House, might be described as the centrifugal film, or falling apart movie. These films offer no gestalt. Sometimes a framework is forced onto the pieces to make one point ultimately appear. A Letter to Three Wives and


73316262 - ewrightlittle

4 of distance from his matorials'. The novelist 'can count on major advantages unavailable to the story writer: the accumu-
lated, unpredictable effects of prolonged characterization, the independent momentum of a plot that becomes something more than a mere frame for manipulation.' Int he mechanistic story, and in the portmanteau film as we shall see, there is no creative dis-
tance and plot is rarely more than 'a mere frame for manipulation'. The story and the authors are naively intertwined in an art-as-
the-mirror-of-life equation.
II
Episodic films may be divided into three categories.
Weekend at the Waldorf, Holiday Camp, Bank Holiday, Domeniced'Audusto, and others suggest a vertical structure: the stories are the consequence of urban overcrowding or of saturnalian par-
ticipation in a festival. A kind of simultaneity is conveyed -
of stories unfolding concurrently in time - that is to say vertically.
A horizontal form is to be seen in La Ronde, Dead of Night, Paisa, La citta se defende,
and others. One main point of view governs from these films, beyond that of a common site or occas-
ion (the vertical form). Attitudes to desire, fate, war emerge so that the episodes contribute to a point of view which they con-
cretise or illustrate.
Finally, there is a class of episodic film in which the bits remain distinct: this form, seen at its simplest in the Somerset Maugham films an in Full House, might be described as the centrifugal film, or falling apart movie. These films offer no gestaly. Sometimes a framework is forced onto the piece to make one point ultimately appear. A Letter to Three Wives and

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