{'fraction_non_alphanumeric': 0.014864864864864866, 'fraction_numerical': 0.0, 'mean_word_length': 4.834645669291339, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Varieties of temporal overlapping and depth

This paper discusses the prevalent phenomenon of temporal overlap in film. Specifically, it examines the various ways in which this technique creates meaning. A central purpose of this paper is also to discuss André Bazin's brief analysis of temporal overlap in Citizen Kane, in which he suggests that there is an aesthetic connection between Welles' temporal overlap and his use of long takes and depth of field. In addition to attempting to clarify this view, I argue that temporal overlap can be used to achieve a form of temporal depth that preserves the ambivalence and richness of reality. The notion of temporal depth is related to Bazin's thoughts about depth of field and lateral depth.