@avclub-d7f43e1fb2d4977c86163d9b0cb07814:disqus The short answer — because the long one would require a few more thousand words — is "cultivated sloppiness." Yes, lots of establishing shots that capture everyone in Place X, and then lots of panning in crowded rooms that suddenly stop, focus on someone saying something…

It's actually quite specific: any film that objectifies the human body outside of any narrative constraints, or only in the presence of highly contrived ones, e.g. Saw or any porn that involves a sexy plumber.

@avclub-d7f43e1fb2d4977c86163d9b0cb07814:disqus Yes, only barely, which is why we've edited it to actually work. Appreciate the defense though.

@avclub-1ef83ff6aceb6847da6c91867e20611b:disqus If you look at the site, they have "simple" and "complex" ways of quantifying it, and the "complex" ones do incorporate camerawork into their formulations. For example, you don't want to include Altman's parody of long takes at the beginning of The Player. (Not that…

@avclub-ebeea2b63b2ea683713b1157c123377a:disqus I do sometimes pine for the Before-Time, when spoilers didn't happen, but it's only because I'm weak and can't stop myself from reading them.

@avclub-98ee3569ee1cc83f32587edbfb0b857a:disqus You're not kidding. And documentaries about the laborious work of editing are incredibly boring, whereas directors are swashbuckling figures who tell people where to go by POINTING VERY VIGOROUSLY. Though if you're interested in seeing how editors work, the expanded…

@avclub-1922cc1dc1286b56a2d99b7f1aa0630c:disqus I also taught this in my "Slow Horror" class:

@avclub-33c8029a5a1eaef4f08afe6b03fda0f9:disqus You're correct, I didn't distribute the terms in the analogy quite correctly. But I take it you still understood my point.

@avclub-6997a8bd0e1042b70b60c5c879a1780e:disqus: Because I found it horrifying. Things in the film are just perpetually wrong, which creates a feeling about the world that just disturbs me, much more than a guy with a chainsaw. Similar example:

@flowsthead I don't know off-hand, but you're more than welcome to download the software and figure it out on your own. Alright, that sounded sarcastic, but I didn't mean it to. What I mean is, it's actually quite a bit of fun to do this, then try to figure out, along the way, how your experience of the film relates…

@vadasz "A good editor will also make decisions about, for example, when to cut in a shot-reverse shot sequence, and whether to linger on a reaction shot, and if so for how long."

@disqus_eAFbpOpr9U:disqus I'd say you're onto something, and not just because the framing seems so similar. Lucas was at USC, and took classes from Lester Novros, about whom he said: "The first time I truly understood the unique quality of film was when I took Les Novros' class. Stressing that film is a kinetic…

Absolutely. In a previous draft, I actually compared a scene in the original with its equivalent in the director's cut, but that didn't fit in with Halloween theme. I'll probably post it at my place in the near future, though, if you're interested.

@C.C. Baxter: "Is Hartley worth exploring?"