The Changing Poetics of the Dissolve in Hollywood Film

• Published in: Empirical studies of the arts Vol. 29; no. 2; pp. 149 - 169
• Main Authors: Cutting, James E., Brunick, Kaitlin L., Delong, Jordan E.
• Format: Journal Article
• Language: English
• Published: Los Angeles, CA SAGE Publications 01-07-2011
• ISSN: 0276-2374; 1541-4493
• DOI: 10.2190/EM.29.2.b

Most films contain many shots knit together by several types of transitions, and by far the most prevalent is the cut. Over the last 70 years, fades and wipes have become increasingly rare. Dissolves have also diminished in frequency but, unlike the others, they remain an important part of the general visual narrative and have shown a small increase in contemporary film. We tracked the usage of dissolves in 150 films released from 1935 to 2005. We found: (a) that after a lull between 1970 and 1990, dissolves have become more numerous, although not nearly so common as during the studio era; (b) that shots surrounding single dissolves are fairly long compared to the median shot lengths of a given film, suggesting visual preparation for scene change before a dissolve, and a re-acceleration after; and (c) that after their nadir, dissolves have increasingly reappeared in clusters reflecting a rebirth of the Hollywood montage. We also discuss the functions and meanings of these montage sequences in the stream of a film's narrative, with more contemporary films focusing on setups, altered mental states, and celebrations rather than older films' focus on travel and time gaps of various sizes.