Choices in the Editing Room
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Aural Expressionism and Montage in Hitchcock's Blackmail
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Summer 6-25-2012 There’s Something British about That: Aural Expressionism and Montage in Hitchcock’s Blackmail, Psycho, and The irB ds Laura D. Borger [email protected], [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Borger, Laura D., "There’s Something British about That: Aural Expressionism and Montage in Hitchcock’s Blackmail, Psycho, and The Birds" (2012). Research Papers. Paper 260. http://opensiuc.lib.siu.edu/gs_rp/260 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THERE’S SOMETHING BRITISH ABOUT THAT: AURAL EXPRESSIONISM AND MONTAGE IN HITCHCOCK’S BLACKMAIL, PSYCHO, AND THE BIRDS by Laura Borger B.A., Southern Illinois University, 1998 B.S., Southern Illinois University, 1998 M.S., Southern Illinois University, 2003 A Research Report Submitted in Partial Fulfillment of the Requirements for the Master of Arts Department of English in the Graduate School Southern Illinois University Carbondale August 2012 Copyright by Laura Borger, 2012 All Rights Reserved RESEARCH REPORT APPROVAL THERE’S SOMETHING BRITISH ABOUT THAT: AURAL EXPRESSIONISM AND MONTAGE IN HITCHCOCK’S BLACKMAIL, PSYCHO, AND THE BIRDS By Laura Borger A Research Report Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the field of English Approved by: Scott McEathron, PhD, Chair Graduate School Southern Illinois University Carbondale June 25, 2012 AN ABSTRACT OF THE RESEARCH REPORT OF LAURA BORGER, for the MASTER OF ARTS degree in ENGLISH, presented on June 25, 2012, at Southern Illinois University Carbondale. -
Comparative Analysis on Faith-Based Filmmaking Sean O'connor Cedarville University, [email protected]
Cedarville University DigitalCommons@Cedarville Communication Faculty Publications Department of Communication 12-11-2015 The rT ee of Life and Courageous: Comparative Analysis on Faith-Based Filmmaking Sean O'Connor Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/ media_and_applied_communications_publications Recommended Citation O'Connor, Sean, "The rT ee of Life and Courageous: Comparative Analysis on Faith-Based Filmmaking" (2015). Communication Faculty Publications. 74. https://digitalcommons.cedarville.edu/media_and_applied_communications_publications/74 This Thesis is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Communication Faculty Publications by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. The Tree of Life and Courageous: Comparative Analysis on Faith-Based Filmmaking A Thesis Presented to the Faculty of School of Communication Arts of Asbury University In Partial Fulfillment Of the Requirements for the Degree Master of Arts by Sean O’Connor December 11, 2015 ii © 2015 Sean Michael O’Connor The U.S. Copyright Act of 2009 protects a thesis with the following clause, “original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device”. iii This thesis has been approved for the School of Communication Arts Dr. Don Simmons, Ph.D., Thesis Advisor Dr. Jim Owens, Ph.D., Dean of School of Communication Arts iv ACKNOWLEDGEMENTS As I reflect on all of those who have encouraged and supported me in the last year as I have pursued my graduate studies, I would first of all like to thank my family. -
EE British Academy Film Awards Sunday 8 February 2015
EE British Academy Film Awards Sunday 8 February 2015 Previous Nominations and Wins in EE British Academy Film Awards only. Includes this year’s nominations. Wins in bold. Leading Actor Benedict Cumberbatch 1 nomination Leading Actor in 2015: The Imitation Game Eddie Redmayne 1 nomination Leading Actor in 2015: The Theory of Everything Orange Wednesdays Rising Star Award Nominee in 2012 Jake Gyllenhaal 2 nominations / 1 win Supporting Actor in 2006: Brokeback Mountain Leading Actor in 2015: Nightcrawler Michael Keaton 1 nomination Leading Actor in 2015: Birdman Ralph Fiennes 6 nominations / 1 win Supporting Actor in 1994: Schindler’s List Leading Actor in 1997: The English Patient Leading Actor in 2000: The End of The Affair Leading Actor in 2006: The Constant Gardener Outstanding Debut by a British Writer, Director or Producer in 2012: Coriolanus (as Director) Leading Actor in 2015: The Grand Budapest Hotel Leading Actress Amy Adams 5 nominations Supporting Actress in 2009: Doubt Supporting Actress in 2011: The Fighter Supporting Actress in 2013: The Master Leading Actress in 2014: American Hustle Leading Actress in 2015: Big Eyes Felicity Jones 1 nomination Leading Actress in 2015: The Theory of Everything Julianne Moore 4 nominations Leading Actress in 2000: The End of the Affair Supporting Actress in 2003: The Hours Leading Actress in 2011: The Kids are All Right Leading Actress in 2015: Still Alice Reese Witherspoon 2 nominations / 1 win Leading Actress in 2006: Walk the Line Leading Actress in 2015: Wild Rosamund Pike 1 nomination Leading Actress in 2015: Gone Girl Supporting Actor Edward Norton 2 nominations Supporting Actor in 1997: Primal Fear Supporting Actor in 2015: Birdman Ethan Hawke 1 nomination Supporting Actor in 2015: Boyhood J. -
Pr-Dvd-Holdings-As-Of-September-18
CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd. -
BFI CELEBRATES BRITISH FILM at CANNES British Entry for Cannes 2011 Official Competition We’Ve Got to Talk About Kevin Dir
London May 10 2011: For immediate release BFI CELEBRATES BRITISH FILM AT CANNES British entry for Cannes 2011 Official Competition We’ve Got to Talk About Kevin dir. Lynne Ramsay UK Film Centre supports delegates with packed events programme 320 British films for sale in the market A Clockwork Orange in Cannes Classics The UK film industry comes to Cannes celebrating the selection of Lynne Ramsay’s We Need to Talk About Kevin for the official competition line-up at this year’s festival, Duane Hopkins’s short film, Cigarette at Night, in the Directors’ Fortnight and the restoration of Stanley Kubrick’s A Clockwork Orange, restored by Warner Bros; in Cannes Classics. Lynne Ramsay’s We Need To Talk About Kevin starring Tilda Swinton was co-funded by the UK Film Council, whose film funding activities have now transferred to the BFI. Duane Hopkins is a director who was supported by the UK Film Council with his short Love Me and Leave Me Alone and his first feature Better Things. Actor Malcolm McDowell will be present for the screening of A Clockwork Orange. ITV Studios’ restoration of A Night to Remember will be screened in the Cinema on the Beach, complete with deckchairs. British acting talent will be seen in many films across the festival including Carey Mulligan in competition film Drive, and Tom Hiddleston & Michael Sheen in Woody Allen's opening night Midnight in Paris The UK Film Centre offers a unique range of opportunities for film professionals, with events that include Tilda Swinton, Lynne Ramsay and Luc Roeg discussing We Need to Talk About Kevin, The King’s Speech producers Iain Canning and Gareth Unwin discussing the secrets of the film’s success, BBC Film’s Christine Langan In the Spotlight and directors Nicolas Winding Refn and Shekhar Kapur in conversation. -
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. -
15. März 2018
Kinostart: 15. März 2018 Im Verleih von UNIVERSAL PICTURES GERMANY GMBH INHALT Stab und Besetzung Seite 3 Technische Daten Kurzinhalt Seite 4 Pressenotiz Seite 4 Über die Produktion Seite 5 - Die Geburt eines Films - Der Look und die Schauplätze Über die Schauspieler Seite 17 - Rooney Mara - Joaquin Phoenix - Chiwetel Ejiofor - Tahar Rahim - Denis Ménochet - Ariane Labed Über die Filmemacher Seite 25 - Garth Davis - Iain Canning - Emile Sherman - Liz Watts - Philippa Goslett - Helen Edmundson - Greig Fraser - Fiona Crombie - Jacqueline Durran 2 STAB Regie GARTH DAVIS Produktion IAIN CANNING EMILE SHERMAN LIZ WATTS Drehbuch PHILIPPA GOSLETT HELEN EDMUNDSON Kamera GREIG FRASER Szenenbild FIONA CROMBIE Kostüme JACQUELINE DURRAN BESETZUNG Rolle Schauspieler Synchronstimme Maria Magdalena ROONEY MARA Kaya Marie Möller Jesus JOAQUIN PHOENIX Tobias Kluckert Petrus CHIWETEL EJIOFOR Falilou Seck Judas TAHAR RAHIM Mehmet Ateşçi Daniel DENIS MÉNOCHET Olaf Reichmann Rachel ARIANE LABED Katharina Rivilis Deutsches Buch und Dialogregie: Christoph Cierpka TECHNISCHE DATEN Hauptfilm: MARY MAGDALENE Tonformat: Dolby 5.1 Bildformat: Flat 2D 4k, CS Sprachfassungen: GV/OV/OmU Laufzeit: 120 Min. FSK: Freigegeben ab XX Jahren, feiertagsfrei XX Jahre Barrierefrei: Greta & Starks 3 KURZINHALT Als weibliche Jüngerin in der Gefolgschaft von Jesus (Joaquin Phoenix) und als Zeugin seiner Kreuzigung, Grablegung und Auferstehung ist Maria Magdalena (Rooney Mara) eine der zentralen Figuren der Bibelgeschichte. Doch sie ist auch eine moderne, junge Frau, die selbstbewusst und mutig gegen die Geschlechterrollen und Hierarchien ihrer Zeit rebelliert. Auf der Suche nach ihrem ganz persönlichen Lebensweg sagt sie sich von ihrer Familie los, um sich dem charismatischen Jesus von Nazareth und seinen Jüngern anzuschließen. Gemeinsam machen sie sich auf eine spirituelle Reise nach Jerusalem. -
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. -
Discussion Guide: Courageous
2012 Discussion Guide: Courageous Movie Dates: Name: May 25, 2012 (Friday) & June 2, 2012 (Saturday) Time: 8.00 p.m. Venue: FGA Sanctuary Contribution of Family Life Counseling Working Team (Lillian Dorai, Janice Tan, Paul Thomas, Marcio Batista, Sew Yin Yin, Benny Mun, Angela Lian, Michelle Eng & Yeo Pei Li) Compiled by Yeo Pei Li Yeo Pei LI Source: Family Life Counseling Unit Adapted from Study by Russ Breimeier, Christianity Today film critic and editor of NoisyWhisper.com. 1/1/2012 Page 1 Reflection Do you believe things are getting better or worse in the world today? Why? INTRODUCTION Leading our families at home in a God-honoring way takes courage. Courageous Project includes a 4-session discussion to help strengthen families, especially fathers. Goal of Courageous Project Parents, especially fathers, to be courageous in leading their families at home in a God-honoring way. Focus of Courageous Project The Courageous discussion focus on the following areas: 1. Demonstrating Priorities - Focusing on eternal things rather than what is temporary 2. Demonstrating Responsibility: - Serving, protecting, and casting a vision for the family 3. Demonstrating Legacy: - Recognizing a father’s potential impact as a godly role model 4. Demonstrating Faith - Increasing in wisdom and strengthening a father’s identity in Christ Suggested Discussion schedule Discussion Before the Movie (Optional) - Show the promotional video You may download from: http://www.youtube.com/watch?v=SY1oQMY9nv0 http://dl.dropbox.com/u/44717838/Courageous_Promo_FL-HF.wmv - Discuss about the top 10 facts about fathering Discussion After the Movie (HF Level) Week 1 (June 1): Demonstrating Priorities Week 2 (June 8): Demonstrating Responsibilities Week 3 (June 15): Demonstrating Legacy Week 4 (June 22): Demonstrating Faith Corporate Commitment After the Movie Week 5 (July 1): Making the ‘I Will!’ Resolution (Church level) Note: Please note that the dates are subject to change. -
Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders. -
TFM 327 / 627 Syllabus V2.0
TFM 327 / 627 Syllabus v2.0 TFM 327 - FILM AND VIDEO EDITING / AUDIO PRODUCTION Instructor: Greg Penetrante OFFICE HOURS: By appointment – I’m almost always around in the evenings. E-MAIL: [email protected] (recommended) or www.facebook.com/gregpen PHONE : (619) 985-7715 TEXT: Modern Post Workflows and Techniques – Scott Arundale & Tashi Trieu – Focal Press Highly Recommended but Not Required: The Film Editing Room Handbook, Hollyn, Norman, Peachpit Press COURSE PREREQUISITES: TFM 314 or similar COURSE OBJECTIVES: You will study classical examples of editing techniques by means of video clips as well as selected readings and active lab assignments. You will also will be able to describe and demonstrate modern post-production practices which consist of the Digital Loader/Digital Imaging Technician (DIT), data management and digital dailies. You will comprehend, analyze and apply advanced practices in offline editing, online/conforming and color grading. You will be able to demonstrate proficiency in using non-linear editing software by editing individually assigned commercials, short narrative scenes and skill-based exercises. You will identify and analyze past, present and future trends in post-production. Students will also learn how to identify historically significant figures and their techniques as related to defining techniques and trends in post-production practices of television and film and distill your accumulated knowledge of post-production techniques by assembling a final master project. COURSE DESCRIPTION: Film editing evolved from the process of physically cutting and taping together pieces of film, using a viewer such as a Moviola or Steenbeck to look at the results. This course approaches the concept of editing holistically as a process of artistic synthesis rather than strictly as a specialized technical skill.