Bordwell (1985) has drawn a constructive account of film viewing. Accordingto him, film viewing is a process that stresses the viewers’ perceptual capacity,memory and inferential processes while it relentlessly floods the viewers with aplethora of details from which they have to pick out the most important ones, cuedby the director through camerawork and, for example, the editor’s work (Bordwell1985:30-34). The viewers have to arrange the material selectively to construct thestory and, as the storytelling proceeds, sometimes rearrange it according toaccumulating new information (ibid.). Hence, film viewing is a dynamicpsychological and cognitive process and film manipulates a variety of factors, forexample, people’s seemingly inherent need for temporal ordering of events and needfor implications of causality, as well as prior knowledge and experience (schemataderived from other works of art, from other films etc.) (ibid.). Bordwell (1985:32-33)suggests that “everything from understanding dialogue to comprehending the film’soverall story utilizes previous knowledge”. These schemata work in the generalcomposition of film, also in that the viewers have certain expectations of whatcinematic dialogue should be like. This will be discussed with more detail below inrelation to some mainstream film dialogue conventions presented by Berliner (1999)
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