Cutting to the Chase: Editing Jaws Warren Buckland in Looking Back
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Greetings! If Hollywood Heroines: The Most Influential Women in Film History sounds like a project you would like be involved with, whether on a small or large-scale level, I would love to have you on-board! Please look at the list of names below and send your top 3 choices in descending order to [email protected]. If you’re interested in writing more than one entry, please send me your top 5 choices. You’ll notice there are several women who will have a “D," “P," “W,” and/or “A" following their name which signals that they rightfully belong to more than one category. Due to the organization of the book, names have been placed in categories for which they have been most formally recognized, however, all their roles should be addressed in their individual entry. Each entry is brief, 1000 words (approximately 4 double-spaced pages) unless otherwise noted with an asterisk. Contributors receive full credit for any entry they write. Deadlines will be assigned throughout November and early December 2017. Please let me know if you have any questions and I’m excited to begin working with you! Sincerely, Laura Bauer Laura L. S. Bauer l 310.600.3610 Film Studies Editor, Women's Studies: An Interdisciplinary Journal Ph.D. Program l English Department l Claremont Graduate University Cross-reference Key ENTRIES STILL AVAILABLE Screenwriter - W Director - D as of 9/8/17 Producer - P Actor - A DIRECTORS Lois Weber (P, W, A) *1500 Major early Hollywood female director-screenwriter Penny Marshall (P, A) Big, A League of Their Own, Renaissance Man Martha -
American Cinema of the 1970S SCREEN AMERICAN CULTURE / AMERICAN CINEMA DECADES
American Cinema of the 1970s SCREEN AMERICAN CULTURE / AMERICAN CINEMA DECADES Each volume in the Screen Decades: American Culture/American Cinema series is an anthology of original essays exploring the impact of cultural issues on film and the impact of film on American society. Because every chapter presents a discussion of particularly significant motion pictures and the broad range of historical events in one year, readers will gain a systematic and progressive sense of the decade as it came to be depicted on movie screens across North America. We know that our series represents just one approach to the growth of the American cinema: to organ- ize by decades establishes somewhat artificial borders and boundaries, and each author’s thematic choices are but one way to understand the culture of a particular year. Despite such limitations, this structure contextualizes the sprawling progres- sion of American cinema, especially as it relates to historical and cultural events. We hope that these books, aimed at scholars and general readers, students and teachers, will shed valuable new light on, and will provide a better understanding of, Ameri- can culture and film history during the twentieth century. LESTER D. FRIEDMAN AND MURRAY POMERANCE SERIES EDITORS Ina Rae Hark, editor, American Cinema of the 1930s: Themes and Variations Wheeler Winston Dixon, editor, American Cinema of the 1940s: Themes and Variations Murray Pomerance, editor, American Cinema of the 1950s: Themes and Variations Lester D. Friedman, editor, American Cinema of the 1970s: Themes and Variations Stephen Prince, editor, American Cinema of the 1980s: Themes and Variations American Cinema of the 1970s Themes and Variations EDITED BY LESTER D. -
Once Upon a Time in Hollywood
THE MAGAZINE FOR FILM & TELEVISION EDITORS, ASSISTANTS & POST- PRODUCTION PROFESSIONALS THE SUMMER MOVIE ISSUE IN THIS ISSUE Once Upon a Time in Hollywood PLUS John Wick: Chapter 3 – Parabellum Rocketman Toy Story 4 AND MUCH MORE! US $8.95 / Canada $8.95 QTR 2 / 2019 / VOL 69 FOR YOUR EMMY ® CONSIDERATION OUTSTANDING SINGLE-CAMERA PICTURE EDITING FOR A DRAMA SERIES - STEVE SINGLETON FYC.NETFLIX.COM CINEMA EDITOR MAGAZINE COVER 2 ISSUE: SUMMER BLOCKBUSTERS EMMY NOMINATION ISSUE NETFLIX: BODYGUARD PUB DATE: 06/03/19 TRIM: 8.5” X 11” BLEED: 8.75” X 11.25” PETITION FOR EDITORS RECOGNITION he American Cinema Editors Board of Directors • Sundance Film Festival T has been actively pursuing film festivals and • Shanghai International Film Festival, China awards presentations, domestic and international, • San Sebastian Film Festival, Spain that do not currently recognize the category of Film • Byron Bay International Film Festival, Australia Editing. The Motion Picture Editors Guild has joined • New York Film Critics Circle with ACE in an unprecedented alliance to reach out • New York Film Critics Online to editors and industry people around the world. • National Society of Film Critics The organizations listed on the petition already We would like to thank the organizations that have recognize cinematography and/or production design recently added the Film Editing category to their Annual Awards: in their annual awards presentations. Given the essential role film editors play in the creative process • Durban International Film Festival, South Africa of making a film, acknowledging them is long • New Orleans Film Festival overdue. We would like to send that message in • Tribeca Film Festival solidarity. -
The Instrument Ofchoice
The instrument of choice. As an editor at the keys, you need a system that helps make every session a fine performance: The Grass ValleyGroup Editing System. Designed to take the best from your production system to the screen. Built to grow as you grow. So if you demand an instrument with capabilities equal to your own, there's only one choice: The Grass Valley Group Editing System. Grass Valley Grou-@ ~'r'V""t'\lAt)"'l..IV \,IIJIIiI From the Editor used to be common agreement that twO things were certain for everyone _ death and taxes. Now you can't be certain IChange.of WHICHMy dictionarytaxes. rambles for approximately 700 words explaining what you can do with that single word, "change." you can run dailies late at night with a director, or habits can change, and the director can take a video cassette home for relaxed viewing after a 12 hour day. For easier viewing some editors are changing from the use of an 8 plate Kem to the use of tWO4 plate models interlocked together. A f¡\m editor works in a cutting room, but when the editing on the sarne show is changed to video tape, he or she is then working in an editing bay. Change is obvious in some (hings, such as more dialogue TV series going to video tape editing. Some change is not so obvious, such s as the faster delivery of difficult film optical because computer camera controls can prograrn so many things with the sarne pass throughIf RiptheVanopticalWinklecamera.had been an editor before his "big sleep," one drowsy glance at a 1986cutting schedulewould snap him awake. -
31. Oktober 1994 COOL POP • POLITICS • HOLLYWOOD 1960-68
Retrospektive GESTE R R EI CHISCHES Viennale 1994 FILMMUSEUM 1.-31. Oktober 1994 COOL POP • POLITICS • HOLLYWOOD 1960-68 MIT FILMEN VON ROBERT ALDRICH WILLIAM ASHER • GEORGE AXELROD ALLEN BARON • JOHN BOORMAN • MARLON B RAN DO RICHARD BROOKS WILLIAM CONRAD • ROGER CORMAN EDWARD DMYTRYK • BLAKE EDWARDS • RICHARD FLEISCHER THEODORE FLICKER ROBERT FLOREY JOHN FORD JOHN FRANKENHEIMER SAMUEL FÜLLER • GUY HAMILTON • HARVEY HART HOWARD HAWKS MONTE HELLMAN DOUGLAS HEYES • ALFRED HITCHCOCK JOHN HUSTON • NORMAN JEWISON ■ ELIA KAZAN • STANLEY KUBRICK • IRVIN LERNER • RICHARD LESTER JERRY LEWIS • SIDNEY LUMET LESLIE MARTINSON RUSS MEYER • JOSEPH M. NEWMAN • SAM PECKINPAH • ARTHUR PENN ■ FRANK PERRY • ROMAN POLANSKI OTTO PREMINGER • ROBERT ROSSEN FRANKLIN J. SCHAFFNER • GEORGE SIDNEY DON SIEGEL • ALEXANDER SINGER • JOHN STURGES PETER USTINOV ROGER VADIM • PAUL WENDKOS BILLY WILDER RON WINSTON Samstag, 1. Oktober 1994, 17.00 Uhr Montag. 3. Oktober 1994, 17.00 Uhr Mittwoch. 5. Oktober 1994. 17.00 Uhr Freitag. 7. Oktober 1994, 17.00 Uhr Sonntag, 9. Oktober 1994, 17.00 Uhr Dienstag, 11. Oktober 1994, 17 00 Uhr Twilight Zone: IN PRAISE OF PIP (1963) FATHOM (1967) THE BELLBOY (1960) Joseph M. Newman SEVEN DAYS IN MAY (1964) ANGEL BABY (1961) FAIL SAFE (1964) Regie: Leslie H. Martinson; Drehbuch: Lorenzo Regie und Drehbuch: Jerry Lewis; Kamera THE KILLERS (1964) Regie: John Frankenheimer; Drehbuch: Rod Ser- Semple, Jr.; Kamera: Douglas Slocombe; Bauten: Regie: Paul Wendkos; Drehbuch: Orin Borsten, Regie: Sidney Lumet; Drehbuch: Walter Bern¬ Haskell Boggs; Bauten: Hai Pereira, Henry ling; Kamera: Ellsworlh Fredricks; Bauten: Cary Maurice Carter; Musik: John Dankworth; Schnitt: Paul Mason. Samuel Roeca; Kamera. Haskell stein; Kamera: Gerald Hirschfeld; Bauten: Albert Bumstead; Musik: Walter Scharf, Schnitt Stanley Regie: Don Siegel; Drehbuch: Gene L. -
The Companion Film to the EDITED by Website, Womenfilmeditors.Princeton.Edu)
THE FULL LIST OF ALL CLIPS in the film “Edited By” VERSION #2, total running time 1:53:00 (the companion film to the EDITED BY website, WomenFilmEditors.princeton.edu) 1 THE IRON HORSE (1924) Edited by Hettie Gray Baker Directed by John Ford 2 OLD IRONSIDES 1926 Edited by Dorothy Arzner Directed by James Cruze 3 THE FALL OF THE ROMANOV DYNASTY (PADENIE DINASTII ROMANOVYKH) (1927) Edited by Esfir Shub Directed by Esfir Shub 4 MAN WITH A MOVIE CAMERA (CHELOVEK S KINO-APPARATOM) (1929) Edited by Yelizaveta Svilova Directed by Dziga Vertov 5 CLEOPATRA (1934) Edited by Anne Bauchens Directed by Cecil B. De Mille 6 CAMILLE (1936) Edited by Margaret Booth Directed by George Cukor 7 ALEXANDER NEVSKY (ALEKSANDR NEVSKIY) (1938) Edited by Esfir Tobak Directed by Sergei M. Eisenstein and Dmitriy Vasilev 8 RULES OF THE GAME (LA RÈGLE DU JEU) (1939) Edited by Marguerite Renoir Directed by Jean Renoir 9 THE WIZARD OF OZ (1939) Edited by Blanche Sewell Directed by Victor Fleming 10 MESHES OF THE AFTERNOON (1943) Edited by Maya Deren Directed by Maya Deren and Alexander Hammid 11 IT’S UP TO YOU! (1943) Edited by Elizabeth Wheeler Directed by Henwar Rodakiewicz 12 LIFEBOAT (1944) Edited by Dorothy Spencer Directed by Alfred Hitchcock 13 ROME, OPEN CITY (ROMA CITTÀ APERTA) (1945) Edited by Jolanda Benvenuti Directed by Roberto Rossellini 14 ENAMORADA (1946) Edited by Gloria Schoemann Directed by Emilio Fernández 15 THE LADY FROM SHANGHAI (1947) Edited by Viola Lawrence Directed by Orson Welles 16 LOUISIANA STORY (1948) Edited by Helen van Dongen Directed by Robert Flaherty 17 ALL ABOUT EVE (1950) Edited by Barbara “Bobbie” McLean Directed by Joseph L. -
On the Meaning of a Cut : Towards a Theory of Editing
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output On the meaning of a cut : towards a theory of editing https://eprints.bbk.ac.uk/id/eprint/40391/ Version: Full Version Citation: Dziadosz, Bartłomiej (2019) On the meaning of a cut : towards a theory of editing. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ON THE MEANING OF A CUT: TOWARDS A THEORY OF EDITING Bartłomiej Dziadosz A dissertation submitted to the Department of English and Humanities in candidacy for the degree of Doctor of Philosophy Birkbeck, University of London October 2018 Abstract I confirm that the work presented in this thesis is my own and the work of other persons is appropriately acknowledged. This thesis looks at a variety of discourses about film editing in order to explore the possibility, on the one hand, of drawing connections between them, and on the other, of addressing some of their problematic aspects. Some forms of fragmentation existed from the very beginnings of the history of the moving image, and the thesis argues that forms of editorial control were executed by early exhibitors, film pioneers, writers, and directors, as well as by a fully- fledged film editor. This historical reconstruction of how the profession of editor evolved sheds light on the specific aspects of their work. Following on from that, it is proposed that models of editing fall under two broad paradigms: of montage and continuity. -
Female Film Editing in Hollywood Cinematography Bakalářská Diplomová Práce
Katedra anglistiky a amerikanistiky Filozofická fakulta Univerzita Palackého v Olomouci Jana Barborová Female film editing in Hollywood cinematography Bakalářská diplomová práce Vedoucí práce: PhDr. Libor Práger Olomouc 2012 Prohlašuji, že jsem diplomovou práci vypracovala samostatně a uvedla v ní předepsaným způsobem všechnu použitou literaturu. V Olomouci dne ……………. 2 Děkuji svému vedoucímu práce, PhDr. Liboru Prágerovi, za cenné rady udělené během vzniku následujícího textu. 3 Contents I INTRODUCTION ................................................................................................................................ 5 II THEORETICAL PART....................................................................................................................... 6 1. Theory of film editing ........................................................................................................................ 7 1.1 General characteristics of film editing .......................................................................................... 7 1.1.1 Influence of the material on the editing................................................................................ .9 1.1.2 Influence of the editing on the viewer................................................................................. 10 1.2 The work of a film editor ............................................................................................................ 11 1.2.1 The editor´s personality..................................................................................................... -
Shaping Physicality and Forming Rhythm Technology, Gender, And
Shaping Physicality and Forming Rhythm: Technology, Gender, and the Pulse of Editing Owing to the challenge involved in conceptualising a cut, editing is often called the “invisible art”.1 This moniker is especially appropriate given the lack of analysis on the material spaces in which editors work, and how this impacts their craft. The issue is partly symptomatic of a wider gap in the study of cinema. As Siân Reynolds points out, film analysis tends to focus on the cultural meanings that films create.2 Whilst film historians have expanded their scope to the contexts in which films are made, their work tends to focus on the financial structures of filmmaking rather than the physical spaces in which filmmakers create. Even considering this, literature on the editor’s work space is strikingly sparse. This is again connected to a scholarly gap, this time on the practise of editing. Many otherwise extensive Film Histories contain only sparing mentions of editing and montage. As Valerie Orpen points out, the Oxford History of World Cinemas, “does not even contain the words ‘editing’ or ‘montage in the index or the table of contents”.3 Barry Salt’s Film Style and Technology, generally an excellent source on the filmmaker’s tools, has little to say about an editor’s utensils.4 It’s evident that these gaps in academic knowledge - on both editing and the filmmaker’s artistic space - combine to create a particular dearth of information on the editor’s creative environment. Don Fairservice provides a rare and informative summary of the editor’s workstation and how it has developed over time, but he relegates this work to the appendix of his book, Film Editing: History, Theory and Practice: Looking at the Invisible. -
LIFF 2016 Catalogue
Leeds International Film Festival NOV 3 - 17, 2016 INTRODUCTION INTRODUCTION LIFF is as much about exploring the city of Leeds as about discovering films from around the world. For our 30th anniversary year, Leeds International Film Festival we’re presenting over 300 events in a record 30 venues citywide, taking the LIFF experience into cinemas, music halls, churches, community venues, pubs, bars, clubs, museums, colleges, Millennium Square, Kirkgate Market, Leeds Station, and even onto boats. In partnership with Bruntwood, we’ve also commissioned a virtual reality short starring the city itself: Welcome to Leeds, a City in Bloom NOV 3 - 17, 2016 takes you on a 360° tour of new and historic sites in the company of poetry from Leeds Young Authors. We’ve collaborated with so many more organisations and individuals based in the city to produce LIFF30, including with Leeds Inspired and four artists on the creation of our anniversary posters that appear on this page. LIFF30 is an epic celebration of Leeds and film, and a huge thank you to everyone who has made it possible. LIFF30 POSTERS CONTENTS commissioned by Leeds Inspired Official Selection 11 Opening & Closing Films 12 Programme 13 Cinema Versa 31 Underground Voices 32 Music on Film 41 Forum 45 Fanomenon 51 Fanathons: Day of the Dead, Night of the Dead, Animation Day 52 Fanorama 58 Mountain Film 67 Retros 67 Fanomenon Short FIlms: Dark Owl International Fantasy 70 Short Film Award, Dead Shorts Competition, Future Shock: Sci-Fi Shorts Panorama Retrospectives 75 Andrzej Zulawski 76 Hal -
LIFF 2018 Catalogue
Welcome LEEDS INTERNATIONAL Welcome to FILM FESTIVAL the LIFF 2018 Catalogue The 32nd Leeds International Film Festival is presented in association with Leeds 2023, a partnership that has made possible the most extensive and diverse celebration of film in the city yet. From world premieres of films made in Leeds and Yorkshire to programmes chosen from over 6,000 films submitted from 109 countries, This festival’s winning short films may LIFF 2018 represents the epic scale and incredible qualify for consideration for the variety of global filmmaking culture. A big thank you to everyone who has contributed to the development of LIFF 2018 and to our audiences for their support of film culture in Leeds. Contents Partners 5 LIFF 2018 Team 6 Official Selection 9 Cinema Versa 63 Fanomenon 101 Time Frames 141 ENTRY REQUIREMENTS Leeds Short Film Awards 185 Oscars.org/Rules Index 243 2 3 Partners Partners Presented by Leading Funders Leading Partners In Association with Major Partners Supporting Partners Sorry to Bother You 4 5 Team Director Leeds City Centre Box Office Staff Venue Assistants Chris Fell Adam Hogarty, Dena Marsh, Kate Parkin, Katy Adams, Lewis Anderson, Daria Arofikina, LIFF 2018 Production Manager Dean Ramsden, Helen Richmond, Shirley Shortall. Jonathan Atkinson, Natasha Audsley, Tom Jamie Cross Bache, Ross Baillie-Eames, Jack Beaumont, Communications Manager Venue Coordinators Sophie Bellová, Emma Bird, Angie Bourdillon, Nick Jones Sue Barnes, Laura Beddows, Alice Duggan, Simon Brett, Hannah Broadbent, Michael Programme Manager Nils Finken, Matt Goodband, Tom Kendall, Brough, Jenna Brown, Julie Carrack, Jess Carrier, Team Alex King Katie Lee, Melissa McVeigh, Joe Newberry, Peter Clarke, Jessie Clayton, Sarah Danaher, Development Managers Vicki Rolley, Natalie Walton, Sarah Wilson. -
Universal Pictures: WELCOME Celebrating 100 Years
Curated by UCLA Film & Television Archive Presented by American Express CArL Laemmle ii 1 UnivErsAL PiCTUrEs: WELCOmE CELEbrating 100 YEArs or 100 years Universal Pictures has been in the business of making movies. “We hope you FUniversal films have touched the hearts of millions and fostered one of the enjoy the films world’s greatest shared love affairs of going to the movies. Along with our extensive film restoration commitment, as part of our year- and thank you for long Centennial Celebration, it was important to find ways to share our films with others. We are proud to be working with the UCLA Film & Television honoring our past Archive to bring you the “Universal Pictures: Celebrating 100 Years” film tour. We hope this event will introduce a new generation of filmgoers to Universal by celebrating classics. 100 years of Movies continue to touch our hearts, make us laugh, cry and unite us in the most amazing ways. We are proud to play a role in preserving and continuing Universal films the iconic legacy of our Studio. with us.” We hope you enjoy the films and thank you, and our corporate partner American Express, for honoring our past by celebrating 100 years of Universal films with us. Ron Meyer President and Chief Operating Officer, Universal Studios 2 mEssAgE FrOm THE DirECTOr t’s not often that we have the opportunity to celebrate the centenary of a Imajor motion picture company—and given its mission to collect, preserve and “…this opportunity showcase moving image culture, this opportunity has been a particularly rich and rewarding one for UCLA Film & Television Archive.