The Technique of Film Editing
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La Construcción Histórica En La Cinematografía Norteamericana
Tesis doctoral Luis Laborda Oribes La construcción histórica en la cinematografía norteamericana Dirigida por Dr. Javier Antón Pelayo Facultad de Filosofía y Letras Departamento de Historia Moderna Universidad Autónoma de Barcelona 2007 La historia en la cinematografía norteamericana Luis Laborda Oribes Agradecimientos Transcurridos ya casi seis años desde que inicié esta aventura de conocimiento que ha supuesto el programa de doctorado en Humanidades, debo agradecer a todos aquellos que, en tan tortuoso y apasionante camino, me han acompañado con la mirada serena y una palabra de ánimo siempre que la situación la requiriera. En el ámbito estrictamente universitario, di mis primeros pasos hacia el trabajo de investigación que hoy les presento en la Universidad Pompeu Fabra, donde cursé, entre las calles Balmes y Ramon Trias Fargas, la licenciatura en Humanidades. El hado o mi más discreta voluntad quisieron que iniciara los cursos de doctorado en la Universidad Autónoma de Barcelona, donde hoy concluyo felizmente un camino repleto de encuentros. Entre la gente que he encontrado están aquellos que apenas cruzaron un amable saludo conmigo y aquellos otros que hicieron un alto en su camino y conversaron, apaciblemente, con el modesto autor de estas líneas. A todos ellos les agradezco cuanto me ofrecieron y confío en haber podido ofrecerles yo, a mi vez, algo más que hueros e intrascendentes vocablos o, como escribiera el gran bardo inglés, palabras, palabras, palabras,... Entre aquellos que me ayudaron a hacer camino se encuentra en lugar destacado el profesor Javier Antón Pelayo que siempre me atendió y escuchó serenamente mis propuestas, por muy extrañas que resultaran. -
THE GERMAN FILM SCENE 2017 an Overview CONTENTS 1. GERMAN FILMS on the HOME MARKET
THE GERMAN FILM SCENE 2017 An Overview CONTENTS 1. GERMAN FILMS ON THE HOME MARKET ................................ .............................. 2 2. GERMAN FILMS ON THE INTERNATIONAL MARKET ................................ ............ 3 3. GERMAN FILMS ON THE FESTIVAL CIRCUIT ................................ ......................... 3 4. GERMAN FILMS BY THE NUMBERS ................................ ................................ ....... 4 5. THE GERMAN FILM SCENE - PRODUCTION ................................ .......................... 5 6 . THE GERMAN FILM SCENE – EXHIBI TION ................................ ............................. 8 7 . THE GERMAN FILM SCENE – DISTRIBUTION ................................ ........................ 8 8 . THE GERMAN FILM SCENE - FOREIGN SALES ................................ .................... 9 9 . THE GERMAN FILM SCENE - USEFUL CONTACTS ................................ ............. 11 The German Film Scene 2017 1 1. GERMAN FILMS ON THE HOME MARKET 1.1 German audiences reaffirmed their support for cinema in general and local films in particular in 201 7 . The num ber of tickets sold overall was at 1 22. 3 million (according to the German Federal Film Board, FFA). Of those tickets, 2 8. 3 million were bou ght to see German films (including German - international co - productions), which garnered a 23 . 9 % market share. 1.2 Humour and a certain degree of familiarity seemed to be what appealed to local audiences, with most of the top 10 German films being comedies and family entertainment -
The General Idea Behind Editing in Narrative Film Is the Coordination of One Shot with Another in Order to Create a Coherent, Artistically Pleasing, Meaningful Whole
Chapter 4: Editing Film 125: The Textbook © Lynne Lerych The general idea behind editing in narrative film is the coordination of one shot with another in order to create a coherent, artistically pleasing, meaningful whole. The system of editing employed in narrative film is called continuity editing – its purpose is to create and provide efficient, functional transitions. Sounds simple enough, right?1 Yeah, no. It’s not really that simple. These three desired qualities of narrative film editing – coherence, artistry, and meaning – are not easy to achieve, especially when you consider what the film editor begins with. The typical shooting phase of a typical two-hour narrative feature film lasts about eight weeks. During that time, the cinematography team may record anywhere from 20 or 30 hours of film on the relatively low end – up to the 240 hours of film that James Cameron and his cinematographer, Russell Carpenter, shot for Titanic – which eventually weighed in at 3 hours and 14 minutes by the time it reached theatres. Most filmmakers will shoot somewhere in between these extremes. No matter how you look at it, though, the editor knows from the outset that in all likelihood less than ten percent of the film shot will make its way into the final product. As if the sheer weight of the available footage weren’t enough, there is the reality that most scenes in feature films are shot out of sequence – in other words, they are typically shot in neither the chronological order of the story nor the temporal order of the film. -
ORANGE IS the NEW BLACK PILOT Written By: Jenji Kohan
ORANGE IS THE NEW BLACK PILOT Written by: Jenji Kohan Based on the Memoir by Piper Kerman Writer's first 5/22/12 BATHING MONTAGE: We cycle through a series of scenes with voice overs. Underneath the dialogue, one song plays throughout. Perhaps it’s ‘Tell Me Something Good,’ by Rufus and Chaka Khan or something better or cheaper or both that the music supervisor finds for us. INT. CONNECTICUT KITCHEN - DAY - 1979 A beautiful, fat, blonde baby burbles and splashes in a kitchen sink. A maternal hand pulls out the sprayer and gently showers the baby who squeals with joy. PIPER (V.O.) I’ve always loved getting clean. CUT TO: INT. TRADITIONAL BATHROOM - 1984 Five year old Piper plays in a bathtub surrounded by toys. PIPER (V.O.) Water is my friend. CUT TO: INT. GIRLY BATHROOM - 1989 Ten year old Piper lathers up and sings her heart out into a shampoo bottle. PIPER (V.O.) I love baths. I love showers. CUT TO: INT. DORM BATHROOM - 1997 Seventeen year old Piper showers with a cute guy. PIPER (V.O.) I love the smell of soaps and salts. CUT TO: INT. LOFT BATHROOM - 1999 Twenty year old Piper showers with a woman. (ALEX) ORANGE IS THE NEW BLACK "Pilot" JENJI DRAFT 2. PIPER (V.O.) I love to lather. CUT TO: INT. DAY SPA - 2004 Piper sits in a jacuzzi with girlfriends. PIPER (V.O.) I love to soak. CUT TO: INT. APARTMENT - 2010 Piper in a clawfoot tub in a brownstone in Brooklyn with LARRY. PIPER (V.O.) It’s my happy place. -
A French Impressionist Critical Approach to Terrence Malick's
Life in Movement: A French Impressionist Critical Approach to Terrence Malick’s Films By Matthew Sellers Johnson A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements of the degree Master of Arts in Film Victoria University of Wellington 2021 i ii Abstract Terrence Malick’s films from Badlands (1973) to The Tree of Life (2011) have generally received critical praise, as well as being the focus of detailed scholarly work. By contrast, his more recent films, what Robert Sinnerbrink refers to as the “Weightless trilogy” with To the Wonder (2012), Knight of Cups (2015) and Song to Song (2017), have been widely criticised and have been largely neglected academically. This thesis endeavours to situate the aesthetic features of these three films within a conceptual framework based in French Impressionist film theory and criticism. I will argue the ways in which these three films use natural light, gestures, close- ups, kinetic images and complex editing in relation to Germaine Dulac’s notions of pure cinema and Jean Epstein’s concept of photogénie. Moreover, these ideas can also be applied to films such as Days of Heaven (1978), The Thin Red Line (1998) and The Tree of Life. Thus, it is my contention that despite the significant changes to his filmmaking style evident in the Weightless trilogy, he remains a highly poetic director interested in the interior lives of his characters and the rhythms of life. iii Acknowledgements The following thesis would not be possible without the academic and personal support of the following people. First and foremost, I would like to thank Dr. -
From Free Cinema to British New Wave: a Story of Angry Young Men
SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending. -
The Altering Eye Contemporary International Cinema to Access Digital Resources Including: Blog Posts Videos Online Appendices
Robert Phillip Kolker The Altering Eye Contemporary International Cinema To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/8 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Robert Kolker is Emeritus Professor of English at the University of Maryland and Lecturer in Media Studies at the University of Virginia. His works include A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg Altman; Bernardo Bertolucci; Wim Wenders (with Peter Beicken); Film, Form and Culture; Media Studies: An Introduction; editor of Alfred Hitchcock’s Psycho: A Casebook; Stanley Kubrick’s 2001: A Space Odyssey: New Essays and The Oxford Handbook of Film and Media Studies. http://www.virginia.edu/mediastudies/people/adjunct.html Robert Phillip Kolker THE ALTERING EYE Contemporary International Cinema Revised edition with a new preface and an updated bibliography Cambridge 2009 Published by 40 Devonshire Road, Cambridge, CB1 2BL, United Kingdom http://www.openbookpublishers.com First edition published in 1983 by Oxford University Press. © 2009 Robert Phillip Kolker Some rights are reserved. This book is made available under the Cre- ative Commons Attribution-Non-Commercial 2.0 UK: England & Wales Licence. This licence allows for copying any part of the work for personal and non-commercial use, providing author -
Wide Shot (Or Establishing Shot) Medium Shot Close-Up Extreme
Definitions: Wide Shot (or Establishing Shot) Medium Shot Close-up Extreme Close-up Pan –Right or left movement of the camera Tilt –Up or down movement of the camera Zoom –Change in focal length (magnification) of the lens V/O –Voice-over, narration not synchronized with video SOT –Sound on Tape, Interview audio synchronized with video B-Roll -Refers to the earlier days of film when you had two rolls of film – A and B – and you had to edit them together. A-roll is the main subject of your shot, with audio such as an interview with someone or SOT (Sound on Tape synchronized with the video). B-roll is the background video for your film, often just video over which you’ll lay an audio track (such as the person talking in the A-roll). Nat Sound (Wild Sound) –Natural sound recorded with B-Roll This is video that has some natural background noise – traffic on a street, birds chirping in a park, etc. This audio can add depth and impact to a two-dimensional video tape. 2-Shot –Shot of the interview subject and the person asking the questions Reverse Angle –Straight-on shot of the person asking the questions Use a Tripod Use a tripod to get a steady shot, particularly if you’re shooting something that is not moving or a formal interview. Shaky video, especially in close-ups, can cause the viewer to become dizzy, even nauseous. If you don’t have a tripod or you’re doing a shot where you’ll have to move quickly, then find something to steady your camera – i.e. -
Ivens Magazine Blz18tm37.Pdf
basin, Ivens yells: ‘We will shoot this scene again in half an June 15th – June 22nd 1956 Damme, Belgium June 25th - July 12th 1956, Mulde, Germany Gérard Philipe and Joris Ivens, hour! There is too much smoke, the horses do not cavort Part of the film crew travelled to Flanders, Bruges, in order On June 25th, Gérard Philipe and Joris Ivens arrived at film clips in East Germany enough and the bridge explosion is not as spectacular as it to add some authentic elements of the local colour to the Tempelhof airport in East Berlin together with the French from Les aventures de Till should be’ … The Dutch journalists could not believe what film. The shots of the actual canal and the opening scene in crew, after the press and hundreds of fans had been waiting l’Espiègle (The Adventures they saw. Their national history was being turned into a the dunes and the countryside were filmed there. And the there for hours. ‘Plenty of teen-agers came to see the ‘jeune of Till Eulenspiegel), 1956. film in the French Riviera by a‘ modest Dutchman’. They scene, in which the city of Damme goes up in flames. Mean- premier’ of the French film’, is what a journalist wrote, who © DEFA Stiftung wanted to know from Ivens how the collaboration was go- while, Ivens became continuously more concerned about was surprised that the fans were so hysterical. ing. ‘Gérard and I, we each direct certain fragments. He, for the direction in which the film was heading. ‘Attention que The last scenes in the GDR were all about the large-scaled instance, works a lot with the French actors, and does the l’action comique et dynamique ne domine pas, ou ébaufe la battles on the banks of the Scheldt between the Spaniards, work that requires the input of an experienced feature film situation serieuse.’, he wrote.24 After three months, he final- on the one hand, and the rebellions of the Geuzen army and man; I am responsible for the outside shoots and the action ly cut the knot and told DEFA that he wanted to back out of the mercenary army of the Prince of Orange on the other. -
ABSTRACT Writing and Directing the Short Film, Stray Brynn David
ABSTRACT Writing and Directing the Short Film, Stray Brynn David Sankey, M.A. Advisor: Christopher J. Hansen, M.F.A. This thesis outlines the process of writing and directing the short film, Stray. It will also examine many of the underlying theoretical and filmic influences that have informed the director’s creative decisions and methodological approach. Personal goals and thematic content is discussed, and a full script analysis is also provided. ! Writing and Directing the Short Film, Stray by Brynn David Sankey, B.M.C.M. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James M. Kendrick, Ph.D. Marion D. Castleberry, Ph.D. Accepted by the Graduate School August 2015 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2014 by Brynn Sankey All rights reserved ! TABLE OF CONTENTS ! "#$%!&'!'#()*+$!,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,!-! ./01%+*!&2+!,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,!3! Introduction ......................................................................................................................1 Personal and Professional -
2.3 Flash-Forward: the Future Is Now
2.3 Flash-Forward: The Future is Now BY PATRICIA PISTERS 1. The Death of the Image is Behind Us Starting with the observation that “a certain idea of fate and a certain idea of the image are tied up in the apocalyptic discourse of today’s cultural climate,” Jacques Rancière investigates the possibilities of “imageness,” or the future of the image that can be an alternative to the often-heard complaint in contemporary culture that there is nothing but images, and that therefore images are devoid of content or meaning (1). This discourse is particularly strong in discussions on the fate of cinema in the digital age, where it is commonly argued that the cinematographic image has died either because image culture has become saturated with interactive images, as Peter Greenaway argues on countless occasions, or because the digital has undermined the ontological photographic power of the image but that film has a virtual afterlife as either information or art (Rodowick 143). Looking for the artistic power of the image, Rancière offers in his own way an alternative to these claims of the “death of the image.” According to him, the end of the image is long behind us. It was announced in the modernist artistic discourses that took place between Symbolism and Constructivism between the 1880s and 1920s. Rancière argues that the modernist search for a pure image is now replaced by a kind of impure image regime typical for contemporary media culture. | 1 2.3 Flash-Forward: The Future is Now Rancière’s position is free from any technological determinism when he argues that there is no “mediatic” or “mediumistic” catastrophe (such as the loss of chemical imprinting at the arrival of the digital) that marks the end of the image (18). -
Frankfort-Film-Festival-2018-Schedule-Vertical.Pdf
FESTIVAL PRESENTED BY SCHEDULE THURSDAY, OCTOBER 18 12:30P WON’T YOU BE MY NEIGHBOR PG13 | 94m | Documentary/Biography 2:30P IN THE FADE R | 106m | Crime/Thriller | English Subs 4:30P THREE IDENTICAL STRANGERS PG13| 96m | Documentary PRODUCING SPONSORS 7:45P THE PARTY R | 71m | Comedy/Drama INTERLOCHEN SHORT PRIOR TO FILM BRYANT DENNISON JOHN & NANCY MEADE THE ROB JONES FAMILY SUZY VOLTZ FRIDAY, OCTOBER 19 12:30P THE FENCER NR | 99m | Bio/Comedy/Drama | English Subs 2:30P THE MIDWIFE NR | 117m | Comedy/Drama | English Subs sie ba et y b FILMMAKER 4:45P THE SENTENCE NR | 85m | Doc/Crime Q&A EST. 1974 ASSEMBLY f u e 7:45P THE DEATH OF STALIN R | 107m | Com/Drama/Hist INSPECTION r nit u r SERVICE FRANKFORT48 2ND & 3RD PLACE SHOWN PRIOR TO FILM SATURDAY, OCTOBER 20 11:00A ZOO PG | 97m | Family/History/War 12:45P INVENTING TOMORROW PG | 105m | Documentary 2:30P FOXTROT R | 113m | Drama | English Subs FILMMAKER 4:30P ALL SAINTS PG | 108m | Drama Q&A 8:00P EIGHTH GRADE R | 93m | Comedy/Drama FRANKFORT48 1ST PLACE SHOWN PRIOR TO FILM SUNDAY, OCTOBER 21 NOON THE GUILTY NR | 87m | Crime/Drama/Thriller | English Subs 1:45P STREAKER NR | 98m | Comedy/Sport | English Subs Te Schindler Appleford Group FILMMAKER 3:45P CLARK PARK NR | 34m | Documentary Short Q&A 4:30P DIVINE ORDER NR | 96m | Comedy/Drama | English Subs www.frankfortgardentheater.com WON’T YOU BE T H E D E AT H FRANKFORT48 STREAKER [FLITZER] 2ND & 3RD PLACE PRIOR TO FILM MY NEIGHBOR OF STALIN SUNDAY | OCT 21 | 1:45P FRIDAY | OCT 19 | 7:45P NR | 98m | Comedy/Sport THURSDAY | OCT 18 | 12:30P Swiss/German w/ Eng.