In this article by David Bordwell, the film theorist and historian details the four central reasons as to why he believes film continuity has intensified over the last forty years.
First, he explains that "movies are being cut faster now," in terms of average shot length (ASL). The ASL of Hollywood feature films decreased from eight to eleven seconds from the thirties to sixties to six to eight in the mid- to late-sixties, and continued steadily to three to six seconds in 1999 and 2000. Additionally, the shot types have changed, as dialogue shots are more brief and establishing shots have become less common.
Secondly, developments of lenses led to changes in typical lens length. From the 1930s on, wide angle lenses became more prevalent as it "provide[s] expansive establishing shots, medium shots with strong foreground/background interplay, and grotesque close-ups." Longer lenses were "available to frame close-ups, medium shots, over-the-shoulder shots, and even establishing shots."
The third cause for intensified continuity was the capability for more tightly framed dialogue scenes. Whereas from the 1930s to 1960s directors favored two-shots ending at knee or thigh level, post-60s films began to employ "'singles': medium shots or close-ups showing only one player." This allowed for further emphasis on certain lines or emotions; thus, actors now are "principally faces."
Fourth and finally, Bordwell explains the effect of a more mobile camera. Along with the advent of sound in films, "camera movement became a mainstay of popular cinema," in techniques such as tracking, crane shots, and circling/spiraling shots.
First, he explains that "movies are being cut faster now," in terms of average shot length (ASL). The ASL of Hollywood feature films decreased from eight to eleven seconds from the thirties to sixties to six to eight in the mid- to late-sixties, and continued steadily to three to six seconds in 1999 and 2000. Additionally, the shot types have changed, as dialogue shots are more brief and establishing shots have become less common.
Secondly, developments of lenses led to changes in typical lens length. From the 1930s on, wide angle lenses became more prevalent as it "provide[s] expansive establishing shots, medium shots with strong foreground/background interplay, and grotesque close-ups." Longer lenses were "available to frame close-ups, medium shots, over-the-shoulder shots, and even establishing shots."
The third cause for intensified continuity was the capability for more tightly framed dialogue scenes. Whereas from the 1930s to 1960s directors favored two-shots ending at knee or thigh level, post-60s films began to employ "'singles': medium shots or close-ups showing only one player." This allowed for further emphasis on certain lines or emotions; thus, actors now are "principally faces."
Fourth and finally, Bordwell explains the effect of a more mobile camera. Along with the advent of sound in films, "camera movement became a mainstay of popular cinema," in techniques such as tracking, crane shots, and circling/spiraling shots.
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