A short list of points:
1. Deep-focus and deep staging are not one and the same.
2. Already Feuillade in the 1910s makes use of elaborate deep-focus and deep staging (precision staging).
3. Many of Citizen Kane's most famous plans-séquences are in fact process shots.
4. As already mentioned, Bordwell is a good source for formalist analysis of this. I would also add Barry Salt's book on film style and technology.
5. Deep-focus has been of crucial interest to theories of realism.
H
> OK, hi everyone, and thanks for keeping this great discussion board going.
>
> I have a terribly elementary question to ask … and yet something
> that's been haunting me for years. Orson Welles' reputation depends to
> a large extent on his 'discovery' of depth-of-field and its
> application. I've both seen the relevant films, of course, and read
> about the importance of this element at the birth of modern cinema all
> over – texts where it is explained, but more frequently where it's
> simply presumed. And it just doesn't stick. What is so significant,
> really, about depth-of-field or deep focus? Would any narrative, or
> anything that cinema has revealed to us since that time, be
> unthinkable without it? What would be the most remarkable examples of
> its consequences?
>
> Kindly yours,
>
> Haukur Már Helgason.
>
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