The morphology and structure of windowing techniques are constrained by their historical applications within realist cinematic narratives. These functions are themselves reflective of theoretical and interpretative concerns, often quite independent of the formal heuristics employed in their production; both the long take and editing/montage have been used in the production of dramatic narrative films. All of these films, whatever their formal design and organization, tend toward realism in their production and narrative development. Realism illuminates the types of historical uses for windowing, a constraint that is not limited to the arrangement and juxtaposition of imagery but the organization of all imagery in commercial cinema. ...
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