Kubrick's Match Cut in 2001
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COM 320, History of the Moving Image–The Origins of Editing Styles And
COM 320, History of Film–The Origins of Editing Styles and Techniques I. The Beginnings of Classical/Hollywood Editing (“Invisible Editing”) 1. The invisible cut…Action is continuous and fluid across cuts 2. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting) -e.g., lack of intercutting?: The Life of An American Fireman (1903) -e.g., D. W. Griffith’s Broken Blossoms (1919) (boxing match vs. girl/Chinese man encounter) 3. Analytical editing -Breaks a single space into separate framings, after establishing shot 4. Continguity editing…Movement from space to space -e.g., Rescued by Rover (1905) 5. Specific techniques 1. Cut on action 2, Match cut (vs. orientation cut?) 3. 180-degree system (violated in Cabinet of Dr. Caligari (1920)) 4. Point of view (POV) 5. Eyeline match (depending on Kuleshov Effect, actually) 6. Shot/reverse shot II. Soviet Montage Editing (“In-Your-Face Editing”) 1. Many shots 2. Rapid cutting—like Abel Gance 3. Thematic montage 4. Creative geography -Later example—Alfred Hitchcock’s The Birds 5. Kuleshov Effect -Established (??) by Lev Kuleshov in a series of experiments (poorly documented, however) -Nature of the “Kuleshov Effect”—Even without establishing shot, the viewer may infer spatial or temporal continuity from shots of separate elements; his supposed early “test” used essentially an eyeline match: -e.g., man + bowl of soup = hunger man + woman in coffin = sorrow man + little girl with teddy bear = love 6. Intercutting—expanded use from Griffith 7. Contradictory space -Shots of same event contradict one another (e.g., plate smashing in Potemkin) 8. Graphic contrasts -Distinct change in composition or action (e.g., Odessa step sequence in Potemkin) 9. -
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. -
Flash-Forward: the Future Is Now 2016
Repositorium für die Medienwissenschaft Patricia Pisters Flash-Forward: The Future is Now 2016 https://doi.org/10.25969/mediarep/13486 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Pisters, Patricia: Flash-Forward: The Future is Now. In: Shane Denson, Julia Leyda (Hg.): Post-Cinema. Theorizing 21st- Century Film. Falmer: REFRAME Books 2016, S. 145–170. DOI: https://doi.org/10.25969/mediarep/13486. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 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). -
Trespassing Hollywood: Property, Space, and the “Appropriation Film”
An unauthorized partial recording of Christian Marclay’s The Clock as accessed on Vimeo, May 21, 2015 . Trespassing Hollywood: Property, Space, and the “Appropriation Film” RICHARD MISEk In the two decades since the first exhibition of Douglas Gordon’s 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has become a common feature of experimental filmmaking and artists’ film and video. Many of the most prominent contemporary practitioners in these fields (including Cory Arcangel, Mark Leckey, Christian Marclay, and Nicolas Provost) have made their names by creating montages, collages, mash-ups, and other transformative works from preexisting moving images. Perhaps the clearest evidence so far of appropriation’s prominence within moving-image arts was the 2012 Turner Prize, in which the works of two of the four finalists (Luke Fowler and Elizabeth Price, who won) were videos constructed mainly from archival televi - sion footage. Of course, this artistic turn is symptomatic of a broader cultural turn that has seen media reuse spread to everyday practice. However artists’ audiovisual appropriations may differ from fan-made YouTube supercuts, the two share a cru - cial technological precondition: the ability to copy and transform source files with - out a significant reduction in quality. 1 Applied to video, Nicolas Bourriaud’s char - acterization of contemporary artistic practice as “postproduction” loops back to its original meaning. It describes not only the creative process of “selecting cultural objects and inserting them into new contexts” but also the technologies through which this process takes place: video-editing, sound-mixing, and visual-effects (i.e., “postproduction”) software. -
Online Video Editing and Production Skills*
Intelligent Information Management, 2012, 4, 177-180 http://dx.doi.org/10.4236/iim.2012.45026 Published Online September 2012 (http://www.SciRP.org/journal/iim) Online Video Editing and Production Skills* Xiaoyan Lu College of Media and International Culture, Zhejiang University, Hangzhou, China Email: [email protected] Received April 12, 2012; revised May 13, 2012; accepted May 22, 2012 ABSTRACT Internet video is a video service that can be uploaded on the Internet and played online. As online video post-production of the key aspects related to the editing work is often the final stage of artistic effects, the acquisition of a certain amount of online video editing skills is important. It will make people relatively independent of the picture and sound that mixed together organically, and be more conducive to the recognition of formation system, the color of the web video and audio clips. Keywords: Online Video; Internet; Editing Skills 1. Introduction Internet video is a collection of the greatest features of voice, video, text and other elements of advantages, Internet video is a video service that can be uploaded on which can attract the audiences’ attention within a short the Internet and played online. Online video post produc- time. Therefore, it requires full utilization of this particu- tion of the key aspects related to the editing work is often lar montage editing techniques, and left the audiences the final stage of the artistic effects. Nowadays, the non- with space of imagination in the meantime. linear editing system is more commonly used on network It is difficult to have an exact accurate conclusion on video material and is combined with 3DSMAX, Afteref- the classification of montage. -
BGDA (UG SDE) (2014 Admission Onwards) V Semester - Core Course
UNIVERSITY OF CALICUT SCHOOL OF DISTANCE EDUCATION BGDA (UG SDE) (2014 Admission onwards) V Semester - Core Course Graphic Synchronized Visual Image Editing QUESTION BANK 1. Composite Video signal a) Analogue b) Digital c) Non linear d) None of the above 2. PSNR a) Peak signal-to-noise ratio b) Programmable system for non linear recording c) Process system News Recording d) None of the above 3. Digital video standards a) NTSC b) RGB c) YMCK d) JPEG 4. Analog video A) SVHS B) DAT C) WAV D) MPEG 5. Digital video a) Encoded Digital data b) VHS c) SVHS d) Betacam 6. Web Video a) Streaming b) Static c) Interface d) None of the above 7. Multimedia a) Text, Audio, Images b) Print media c) Cassette media d) None of the above 8. Digital era a) Information age b) LP Record age c) Video Cassette age d) None of the above 9. Final Cut Pro a) Video Editing b) Sound Mastering c) Image Editing d) None of the above 10. Action cutting a) Matching an action b) Removing an action c) Stopping an action d) None of the above 11. Rough cut a) Online Editing b) First process of editing c) Removing rough frames d) None of the above 12. Cross cutting a) Parallel editing b) Diagonally cutting c) Removing frames d) None of the above 13. VTR a) Video tape recording b) Video transferring and Removing c) Vector tape recording d) None of the above 14. Linear editing a) Ordered Sequence b) Interactive c) Dynamic d) None of the above 15. -
Screenplay Format Guide
Screenplay Format Guide Format-wise, anything that makes your script stand out is unwise. This may seem counterintuitive. Anything you do to make your screenplay distinctive is good, right? Depart from the traditional format, though, and you risk having your script prejudged as amateurish. A truly conscientious reader will overlook such superficial matters and focus on content. However, if your work looks unprofessional, it may not be taken seriously. To ensure your script gets a fair read, follow these formatting guidelines: It isn’t necessary to file a copyright with the Library of Congress. Your script is automatically protected under common law. However, it’s a good idea to register it, either with an online service, such as the National Creative Registry (protectrite.com), or with the Writers Guild. This being said, the Industry tends to view registration and copyright notices as the marks of a paranoid amateur. You would be wise to leave them off your script. Use a plain cover. White or pastel card stock, not leatherette. Avoid using screw posts or plastic-comb binding. Bind your script with sturdy, brass fasteners, such as those made by ACCOÒ. The ones Staples sells are too flimsy. Readers hate it when a script falls apart in their hands. You can order professional-quality script supplies online from WritersStore.com. Although scripts are printed on three-hole-punched paper, there’s an unwritten rule that speculative scripts are bound with two fasteners, not three. Why this tends to be common practice is unclear. Perhaps it’s because submissions often get copied by the studio’s story department, and it’s easier (and cheaper) if there are only two brads. -
A Supercut of Supercuts: Aesthetics, Histories, Databases
A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide. -
EDITING TECHNIQUES for FILM the Editing Process
EDITING TECHNIQUES FOR FILM The Editing Process Shots are edited together to create scenes. Scenes can be edited together to tell a story. Editing Many regard it as the single most important creative step in determining the look an shape of the finished film Dede Allen - BONNIE AND CLYDE, REDS A good editor can save a poorly directed film A bad editor can damage the work of even the finest director Thelma Schoonmaker - RAGING BULL, THE DEPARTED Watching a film is like putting together a puzzle… Overall picture emerges when all the little pieces have been fit together Each piece is a shot When put together properly, the viewer sees the whole picture and not just the pieces Lev Kuleshov Kuleshov said that editing a film was like constructing a building. Brick-by-brick (shot- by-shot) the building (film) is erected. Just as two images joined together form a third meaning not inherent in either of the two images alone… …the way the many images making up a film are put together creates a meaning not inherent in the individual shots Viewers infer meaning based on context. The viewers didn't realize it, but the emotion and the story they felt were the result of the human need to fill in the blanks. Sample of EditingTechniques 1. Master 2. Match cut 3. Continuity editing 4. Jump Cut 5. Montage 7. Shot Reverse Shot Master shot A master shot is a film recording of an entire dramatized scene, from start to finish, from an angle that keeps all the players in view. -
Spider-Man: Into the Spider-Verse
SPIDER-MAN: INTO THE SPIDER-VERSE Screenplay by Phil Lord and Rodney Rothman Story by Phil Lord Dec. 3, 2018 SEQ. 0100 - THE ALTERNATE SPIDER-MAN “TAS” WE BEGIN ON A COMIC. The cover asks WHO IS SPIDER-MAN? SPIDER-MAN (V.O.) Alright, let’s do this one last time. My name is Peter Parker. QUICK CUTS of a BLOND PETER PARKER Pulling down his mask...a name tag that reads “Peter Parker”...various shots of Spider-Man IN ACTION. SPIDER-MAN (V.O.) I was bitten by a radioactive spider and for ten years I’ve been the one and only Spider-Man. I’m pretty sure you know the rest. UNCLE BEN tells Peter: UNCLE BEN (V.O.) With great power comes great responsibility. Uncle Ben walks into the beyond. SPIDER-MAN (V.O.) I saved a bunch of people, fell in love, saved the city, and then I saved the city again and again and again... Spiderman saves the city, kisses MJ, saves the city some more. The shots evoke ICONIC SPIDER-MAN IMAGES, but each one is subtly different, somehow altered. SPIDER-MAN (V.O.) And uh... I did this. Cut to Spider-Man dancing on the street, exactly like in the movie Spider-Man 3. SPIDER-MAN (V.O.) We don’t really talk about this. A THREE PANEL SPLIT SCREEN: shots of Spider-Man’s “products”: SPIDER-MAN (V.O.) Look, I’m a comic book, I’m a cereal, did a Christmas album. I have an excellent theme song. (MORE) 2. SPIDER-MAN (V.O.) (CONT'D) And a so-so popsicle. -
THE NINES Written by John August FINAL SCRIPT November 2006
THE NINES written by John August FINAL SCRIPT November 2006 READER NOTE One thing that will be obvious to viewers, but not to readers, is that the nine principal parts in this film are played by only three actors: 1) Gary, Gavin, Gabriel 2) Sarah, Susan, Sierra 3) Margaret, Melissa, Mary It'll make more sense in context. Promise. 100 A MAN’S HAND 100 unwinds a short length of green string. We’re extremely close, with a shallow, blurry focus. It’s like the first moments after a dream -- just fragments. Scissors cut the string. The man wraps it around his left wrist. A loop. A bracelet. We see the man’s teeth, the edge of his chin as he pulls the knot tight. His fingers pull against the string. Solid. It won’t break easily. FADE OUT. 101 PITCH BLACK 101 There’s no music. No sound at all, really, except for some distant birds CHIRPING. Then a SQUEAK. A SQUEAL as rusty springs engage. A GARAGE DOOR LIFTS, revealing GARY BANKS in silhouette. He’s 30, effortlessly fit, with movie-star good looks. (Although for now, he’s merely a TV star.) Like most Laurel Canyon garages, this one has never held a car. Instead, it’s the resting place for all the detritus of bachelordom: shitty Ikea furniture, a drum set, a styrofoam snowman, and the Harley he always meant to get running. Gary spots what he was looking for. CUT TO: 102 EXT. BACK PATIO / LAUREL CANYON HOUSE - MAGIC HOUR (DAWN) 102 Gary drags a beaten Weber kettle. -
Lecture 2 Editing Technique: Art & Craft Reminder CW1 Hand-In
162: developing a narrative Lecture 2 Editing technique: Art & Craft Reminder CW1 Hand-in ET Reception - Monday 6th Feb 8:30-4:00pm A hard copy of your script with the covering page giving your name, title of your script and Blog address that shows your reflections on the process you have been through during the writing process. A hard copy of your Script Report (Produce a script report on a different script to your own using the provided template as a guide) Blog Task? “Film editing is now something almost everyone can do at a simple level and enjoy it, but to take it to a higher level requires the same dedication and persistence that any art form does... The editor works on the subconscious of the viewer, and controls the story, the music, the rhythm, the pace, shapes the actors’ performances, ‘re-directing’ and often re- writing the film during the editing process, honing the infinite possibilities of the juxtaposition of small snippets of film into a creative, coherent, cohesive whole.” Walter Murch CITY OF GOD (2002) - HTTP://WWW.IMDB.COM/TITLE/TT0317248/ CITY OF GOD (2002) - HTTP://WWW.IMDB.COM/TITLE/TT0317248/ fast cuts match cuts (cam flash/knife-carrot/drum-feet/match flame/ Match on action - falling feathers integrated motion titles jump cuts Montage (knife-instrument / knife - chicken / kebabs-drums) sound for effect - levels - rhythm - vibrancy - urgency pathos (for the chicken) mostly cut from the chickens perspective Pace - is fast and gets faster a story within a story - tells us about the rest of the film Pace slows after escape cuts more for continuity shot reverse shot match cut/ fade flashback sound effects to convey feelings of character pathos passes from the chicken to rocket - they are both in the same predicament Cuts & Construction of meaning Cutting for continuity… “An editor is successful when the audience enjoys the story and forgets the juxtaposition of the shots.