I had also previously taken the companion class, American Cinema 1927–1960, so I had gained a wide view of American film history. The film that I watched that has the largest amount of slow motion was 300, which has about 22.3 minutes of slow motion, accounting for 23.8% of the film’s runtime.įM: Describe the original context for/when writing this article while an undergraduate student.ĬD: This was the final paper for my American Cinema Since 1961 class. This allowed me to compile a large amount of data to use in my discussions. I wrote a custom program that allowed me to watch a film and click buttons to log when a shot started that was slow motion, and when that shot ended. In the article, I use statistical data on the amount of slow motion used in a range of films to discuss trends and usage of the device.įM: What research and/or methodologies do you incorporate in your article?ĬD: I used several scholarly articles and books for the development of the paper, but a large part of it came from personally collecting data on the amount of time spent on slow motion in the films that I discussed.
It draws largely from David Bordwell’s writings on the subject and applies them to the seldom talked about area of slow motion. This scene from 300 (Warner Bros., 2006) repeatedly ramps between different film speeds, intensifying the action.įilm Matters: Please tell us about your article that is being published in Film Matters.Ĭameron Detig: My article, “Slow Motion in the Age of Intensified Continuity,” is about the ways in which slow motion has been implemented in film, and how its uses became amplified after the rise of intensified continuity since the 1960s.
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