David Bordwell (2002) has described contemporary mainstream cinema as a cinema of intensified continuity. When we combine Bordwell's analysis with that of recent cognitive work on attention, especially with work on edit blindness, we discover some intriguing results. For example, the
increased rate of cutting in contemporary cinema serves to keep our attention continually aroused, but, at the same time, that which arouses our attention—the increased number of cuts—becomes decreasingly visible. That is, the greater the number of cuts made in the services of
continuity editing, the less we are able to spot them. If, while watching contemporary mainstream cinema, the attention of viewers is aroused but viewers are decreasingly capable of spotting the reasons why this is so (i.e., the cuts themselves), then does this also serve to make contemporary
mainstream cinema “post-ideological,” because it concerns itself only with “intensified” experiences? Or, as this article argues, does the sheer speed of contemporary mainstream cinema renew the need for the ideological critique of films?
WINNER OF THE 2008 AAP/PSP PROSE AWARD FOR BEST NEW JOURNAL IN THE SOCIAL SCIENCES & HUMANITIES!
Projections is an interdisciplinary, peer-reviewed journal that explores the ways in which recent advancements in fields such as psychoanalysis, cognitive psychology, neuroscience, genetics and evolution help to increase our understanding of film, and how film itself facilitates investigations into the nature and function of the mind. The journal incorporates articles on the visual arts and new technologies related to film. The aims of the journal are to explore these subjects, facilitate a dialogue between people in the sciences and the humanities, and bring the study of film to the forefront of contemporary intellectual debate.