Classifier Instance:

Anchor text: Jonathan Kramer
Target Entity: Jonathan_Kramer
Preceding Context: Lester's fantasies are emphasized by slow motion and repetitive motion shots; Mendes uses double-and-triple cut backs in several sequences, and the score alters to make the audience aware that it is entering a fantasy. One example is the gymnasium scene—Lester's first encounter with Angela. While the cheerleaders perform their half-time routine to "On Broadway", Lester becomes increasingly fixated on Angela. Time slows to represent his "voyeuristic hypnosis" and Lester begins to fantasize that Angela's performance is for him alone. "On Broadway"—which provides a conventional underscore to the onscreen action—is replaced by discordant, percussive music that lacks melody or progression. This nondiegetic score is important to creating the narrative stasis in the sequence; it conveys a moment for Lester that is stretched to an indeterminate length. The effect is one that Associate Professor Stan Link likens to "vertical time", described by the composer and music theorist
Succeeding Context: as music that imparts "a single present stretched out into an enormous duration, a potentially infinite 'now' that nonetheless feels like an instant". The music is used like a visual cue, so that Lester and the score are staring at Angela. The sequence ends with the sudden reintroduction of "On Broadway" and teleological time.
Paragraph Title: null
Source Page: American Beauty (film)

Ground Truth Types:

Predicted Types:

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