Was the transition to narrative cinema bridged by the inclusion of "drama" into filmmaking practices? Is "drama" an inherently embedded aspect of cinema?
Beyond the stylistic implications of the long take, but do directors sometimes use these long takes as a means to demonstrate their proficiency and or expertise in coordination of mise-en-scene, blocking, and moving/tracking cinematography? Are they trying to prove something?
Is the long take dead? Is it dying? Modern peoples' attention spans are shrinking, so do contemporary long takes necessitate more densely packed drama and action?
What is "slippage," and how does it affect spectatorship?
Does "slippage" affect the relationship between the apparatuses?
How do intentional and accidental slippage variably affect the film? Does it matter? How do we know whether a certain part of "slippage" is intentional or not?
How do dialogue and/or narration during a montage affect the overall style and feeling of the sequence?