It was David Bordwell, Janet Staiger, and Kristin Thompson who coined Classical Hollywood Cinema in their influential study of Classical Hollywood Cinema. The three authors conducted formalist analysis on a random selection of 100 Hollywood films from 1917 to 1960. They arrived at a conclusion that during this time, a distinct cinematic style developed. The authors called this style Classical Hollywood style.
Bordwell, Staiger, and Thompson asserted that this style has become a model because of the worldwide domination of Hollywood cinema. The most contentious assertion of the authors was their claim that filmmakers will face a choice between two alternatives; either filmmakers will follow Classical Hollywood style or go against it.
The narrative of Classical Hollywood Style followed most of Western narratives. It was evidently composed of perceptible beginning, middle, and end. The narrative normally provided complete outcome at the end. The characters’ objectives were usually motivated psychologically rather than socially.
The editing, on the other hand, was distinct because it is continuous. The goal of continuity editing was to make the cuts in the film unseen. The editing followed the flow of the narrative.
Lastly, the cinematic space and time of Classical Hollywood Style were unified, continuous, and straight or linear. They appeared as a whole to complement our perception of time and space in reality.
Motivation and conventions were the combing forces behind Classical Hollywood Style. Every event was motivated in the development of the narrative. In the same way, the narrative also motivated the use of cinematic style. The connection between the two was highly predictable and because of this style, viewers expected certain choices for certain narrative situations. Summarizing everything, Classical Hollywood Style satisfied the viewers’ expectations.
Source: Michael Lewis Goldberg, Associate Professor in University of Washington Bothell
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