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The Shot Length Styles of Miyazaki, Oshii, and Hosoda: A Quantitative Analysis
8 references·1 citing·30 second hop
The Shot Length Styles of Miyazaki, Oshii, and Hosoda: A Quantitative Analysis (2013)The Shot Length Styles of Miyazaki, Oshii…Quicker, Faster, Darker: Changes in Hollywood Film over 75 Years (2011)Quicker, Faster, Darker: Chan…How Act Structure Sculpts Shot Lengths and Shot Transitions in Hollywood Film (2011)How Act Structure Sculpts Sho…Anime from Akira to Howl's moving castle : experiencing contemporary Japanese animation (2005)Anime from Akira to Howl's mo…Stray dog of anime: the films of Mamoru Oshii (2004)Stray dog of anime: the films…Intensified Continuity Visual Style in Contemporary American Film (2002)Intensified Continuity Visual…On the history of film style (1998)On the history of film styleFilm style and technology: history and analysis (1994)Film style and technology: hi…Film History: An Introduction (1994)Film History: An IntroductionThe significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii (2014)The significance of anime as …The Structure of Scientific Revolutions (1963)Content Analysis: An Introduction to its Methodology. (1984)The Postmodern Condition: A Report on Knowledge (1984)Film Art: An Introduction (1979)The Clockwork Muse: The Predictability of Artistic Change. (1991)The Way Hollywood Tells It (2006)Narrative theory and the dynamics of popular movies (2016)The Science of Culture? Social Computing, Digital Humanities and Cultural Analytics (2016)Why imaginary worlds? The psychological foundations and cultural evolution of fictions with imaginary worlds (2021)The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (1986)The Classical Hollywood Cinema (2003)Exploring Cutting Structure in Film, with Applications to the Films of D. W. Griffith, Mack Sennett, and Charlie Chaplin (2015)Introducing Cognitive Psychology in Film Studies: Redefining Affordance (2022)The Routledge Companion to Aesthetics (2005)An Attentional Theory of Continuity Editing (2006)Shot scale matters: The effect of close-up frequency on mental state attribution in film viewers (2020)The Quick and the Undead: Visual and Political Dynamics in Blood: The Last Vampire (2007)When Pigs Fly: Anime, Auteurism, and Miyazaki’s Porco Rosso (2007)The Ghost in the City and a Landscape of Life: A Reading of Difference in Shirow and Oshii's Ghost in the Shell (2008)Film Festivals : From European Geopolitics to Global Cinephilia (2007)The Mass Production of the Senses: Classical Cinema as Vernacular Modernism (2009)A philosophy of cinematic art (2010)Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales (2010)Approaching media industries comparatively: A case study of streaming (2018)Detecting mental fatigue from eye-tracking data gathered while watching video: Evaluation in younger and older adults (2018)How to Compare One Million Images? (2012)The Attentional Theory of Cinematic Continuity (2012)Relevant abuse? Investigating the effects of an abusive subtitling procedure on the perception of TV anime using eye tracker and questionnaire (2009)Japanese Anime Heroines as Role Models for U.S. Youth: Wishful Identification, Parasocial Interaction, and Intercultural Entertainment Effects (2012)Plasmatic Nature: Environmentalism and Animated Film (2014)
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References

  • 1994Film History: An Introduction558 cited
  • 2002Intensified Continuity Visual Style in Contemporary American Film362 cited
  • 2005Anime from Akira to Howl's moving castle : experiencing contemporary Japanese animation240 cited
  • 1994Film style and technology: history and analysis220 cited
  • 1998On the history of film style179 cited
  • 2011Quicker, Faster, Darker: Changes in Hollywood Film over 75 Years173 cited
  • 2004Stray dog of anime: the films of Mamoru Oshii37 cited
  • 2011How Act Structure Sculpts Shot Lengths and Shot Transitions in Hollywood Film27 cited

Cited by

  • 2014The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii6 cited

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