Further Reading

Burch, Noel. ''Porter, or Ambivalence." Screen 14, no. 4

(1978/79): 91-105. Gaudreault, Andre. ''Detours in Film Narrative: The Development of Cross-Cutting.'' Cinema Journal 19, no. 1 (1979): 39-59. Musser, Charles. Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company. Berkeley: University of California Press, 1991.

Charlie Keil itself. Moreover, the logic of editing in multi-shot films follows a principle whereby, as André Gaudreault has noted, autonomy of space overrides temporal unity. The clearest demonstration of his observation can be seen in instances of temporal overlap, in which a portion of the time frame from a previous shot is repeated in a subsequent shot, the action in the latter occurring in a different locale or viewed from a changed perspective. The most celebrated case of temporal overlap occurs in

Edwin S. Porter's (1870-1941) Life of an American Fireman (1903), when the rescue of the mother and child from the burning building is shown twice, both from within the building and from the outside. Though later practice (and a subsequently re-edited version of the film) would rely on crosscutting to portray the same action from two vantage points, at this stage in early cinema's stylistic development, it apparently made more sense to show the action in its entirety from one perspective before shifting to another. Rather than a mistake, temporal overlap should be understood as evidence that the logic underwriting early cinema style traded on distinctive viewing procedures and the influence of other, visually based storytelling forms prevalent at the time.

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