Outline of Key Areas 1. Definition 2. Dimensions 3. Continuity Editing 4
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
History Is Made in the Dark 4: Alexander Nevsky: the Prince, the Filmmaker and the Dictator
1 History Is Made in the Dark 4: Alexander Nevsky: The Prince, the Filmmaker and the Dictator In May 1937, Sergei Eisenstein was offered the opportunity to make a feature film on one of two figures from Russian history, the folk hero Ivan Susanin (d. 1613) or the mediaeval ruler Alexander Nevsky (1220-1263). He opted for Nevsky. Permission for Eisenstein to proceed with the new project ultimately came from within the Kremlin, with the support of Joseph Stalin himself. The Soviet dictator was something of a cinephile, and he often intervened in Soviet film affairs. This high-level authorisation meant that the USSR’s most renowned filmmaker would have the opportunity to complete his first feature in some eight years, if he could get it through Stalinist Russia’s censorship apparatus. For his part, Eisenstein was prepared to retreat into history for his newest film topic. Movies on contemporary affairs often fell victim to Soviet censors, as Eisenstein had learned all too well a few months earlier when his collectivisation film, Bezhin Meadow (1937), was banned. But because relatively little was known about Nevsky’s life, Eisenstein told a colleague: “Nobody can 1 2 find fault with me. Whatever I do, the historians and the so-called ‘consultants’ [i.e. censors] won’t be able to argue with me”.i What was known about Alexander Nevsky was a mixture of history and legend, but the historical memory that was most relevant to the modern situation was Alexander’s legacy as a diplomat and military leader, defending a key western sector of mediaeval Russia from foreign foes. -
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. -
TRANSCRIPT Editing, Graphics and B Roll, Oh
TRANSCRIPT Editing, Graphics and B Roll, Oh My! You’ve entered the deep dark tunnel of creating a new thing…you can’t see the light of day… Some of my colleagues can tell you that I am NOT pleasant to be around when I am in the creative video-making tunnel and I feel like none of the footage I have is working the way I want it to, and I can’t seem to fix even the tiniest thing, and I’m convinced all of my work is garbage and it’s never going to work out right and… WOW. Okay deep breaths. I think it’s time to step away from the expensive equipment and go have a piece of cake…I’ll be back… Editing, for me at least, is the hardest, but also most creatively fulfilling part of the video-making process. I have such a love/hate relationship with editing because its where I start to see all the things I messed up in the planning and filming process. But it’s ALSO where - when I let it - my creativity pulls me in directions that are BETTER than I planned. Most of my best videos were okay/mediocre in the planning and filming stages, but became something special during the editing process. So, how the heck do you do it? There are lots of ways to edit, many different styles, formats and techniques you can learn. But for me at least, it comes down to being playful and open to the creative process. This is the time to release your curious and playful inner child. -
Exploration of Narrative Devices in Documentary Propaganda Across Different
Exploration of Narrative Devices in Documentary Propaganda Across Different Media Platforms Comparative Analysis of the USSR in the 1920s and Russia in the 2010s Kirill Chernyshov A Research Paper Submitted to the University of Dublin, in partial fulfilment of the requirements for the degree of Master of Science Interactive Digital Media 2018 Declaration I have read and I understand the plagiarism provisions in the General Regulations of the University Calendar for the current year, found at: http://tcd.ie/calendar I have also completed the Online Tutorial on avoiding plagiarism ‘Ready, Steady, Write’, located at http://tcd-ie.libguides.com/plagiarism/ready-steady-write I declare that the work described in this Research Paper is, except where other stat- ed, entirely my own work and has not been submitted as an exercise for a degree at this or any other University. Signed: Kirill Chernyshov Date: Permission to Lend and/or Copy I agree that Trinity College Library may lend or copy this research paper upon request. Signed: Kirill Chernyshov Date: Acknowledgements To my family and friends in different parts of the world for their support while being so far away. To my new friends here, flatmates, and classmates, for being there and making this experience so exciting. To Vivienne, my supervisor, for the fantastic lectures, positive spirit, and valuable guidance throughout the year. Summary In this research paper, two periods in Russian and Soviet history are compared in or- der to identify the differences in narrative devices used in the 1920s and 2010s. These two cases were chosen to analyse due to, apart from the fact that today’s Russia is a comparatively young direct successor of the USSR, that predictably causes some similarities in the people’s identity and values, there are some similarities in historical and political context of these two periods that were revealed in this paper. -
Cinematic Technique Intended Effect and Purpose Film Examples Shots
WRITING A STYLE ANALYSIS ESSAY Name ___________________________________ Cinematic Techniques Due Date ________________________________ Cinematic Technique Intended Effect and Purpose Film Examples Shot: A single piece of film, uninterrupted by cuts. Establishing Shot: Often a This is used to establish setting long shot or a series of and to show transitions shots that sets the scene. between locations. Long Shot (LS): A shot from It may suggest the isolation or some distance (also called vulnerability of a character. a full shot). A long shot of a person shows the full body. Medium Shot (MS): The The effect is to ground the most common shot. The story. camera seems to be a medium distance from the object being filmed. A medium shot shows a person from the waist up. Close-up Shot (CU): The Shots and Framing Shots image being shot takes up at least 80% of the frame. Extreme Close-up Shot (ECU): The image being shot is part of the whole, such as an eye or a hand. Two Shot: A scene between two people shot exclusively from an angle that includes both characters more or less equally, it is used in scenes where interaction between the two characters is important. Cinematic Technique Intended Effect and Purpose Film Examples Eye Level: A shot taken Ninety to ninety-five percent from a normal height – that of the shots seen are eye level is, at the character’s eye because it is the most natural level. angle. High Angle: The camera is This angle usually has the above the subject. effect of making the subject look smaller than normal, giving the character the appearance of being weak, powerless, and/or trapped. -
Cheat Sheet Video Editing
The Ultimate Video Editing Cheat Sheet /SunnyLenarduzzi Video & Social Media Coach, Consultant, YouTuber, Speaker and Broadcaster. Step 1: Pre-Production Did you know that the editing process begins before you even turn on your camera? Consider the following pre-production elements: Script Write a loose script that you'll use to guide you and the flow of your video. Break the script into sections i.e. intro, point #1, point #2, outro. If you promote your video across social platforms, write scripts that are specific to: Instagram: 15 sec. maximum Twitter: 30 sec. maximum Facebook: 20 min. maximum www.SunnyLenarduzzi.com Pre-Production Titles & Graphics To add a unique look and feel to your videos, be sure to create your intro graphic or animation that you can use in all of your videos moving forward. You can easily make these yourself in Canva or PicMonkey. Or you can hire someone to do it for as low as $5.00 on Fiverr. Shot List For each portion of your script, think about the visuals you'll need to support your points i.e. photos, extra video footage (b-roll), props, interviews, etc. Collect those creative elements and store them in a folder so they're organized for when it comes time to edit your video. Group shots with the same locations together to make the filming process easier; it's ok to film your video out of order. www.SunnyLenarduzzi.com Step 2: Production Lights, camera, action! Now that you have your ducks in a row, it's time to shoot your masterpiece. -
Reading Eisenstein's Capital
Sergei Eisenstein. Diary entry, February 23, 1928. Rossiiskii Gosudarstevennyi Arkhiv Literatury i Iskusstva ( Russian State Archive for Literature and Art). 94 https://doi.org/10.1162/grey_a_00251 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/grey_a_00251 by guest on 01 October 2021 Dance of Values: Reading Eisenstein’s Capital ELENA VOGMAN “The crisis of the democracy shoUld be Understood as crisis of the conditions of exposition of the political man.” 1 This is how Walter Benjamin, in 1935, describes the decisive political conseqUences of the new medial regime in the “age of technological reprodUcibility.” Henceforth, the political qUestion of representation woUld be determined by aesthetic conditions of presentation. 2 In other words, what is at stake is the visibility of the political man, insofar as Benjamin argUes that “radio and film are changing not only the fUnction of the professional actor bUt, eqUally, the fUnction of those who, like the politician, present themselves before these media.” 3 Benjamin’s text evokes a distorting mirror in which the political man appears all the smaller, the larger his image is projected. As a resUlt, the contemporary capitalist conditions of reprodUction bring forth “a new form of selection”—an apparatUs before which “the champion, the star, and the dictator emerge as victors.” 4 The same condition of technological reprodUction that enables artistic and cUltUral transmission is inseparably tied to the conditions of capi - talist prodUction, on the one hand, and the rise of fascist regimes, on the other. Benjamin was not the first to draw an impetUs for critical analysis from this relationship. -
3. Master the Camera
mini filmmaking guides production 3. MASTER THE CAMERA To access our full set of Into Film DEVELOPMENT (3 guides) mini filmmaking guides visit intofilm.org PRE-PRODUCTION (4 guides) PRODUCTION (5 guides) 1. LIGHT A FILM SET 2. GET SET UP 3. MASTER THE CAMERA 4. RECORD SOUND 5. STAY SAFE AND OBSERVE SET ETIQUETTE POST-PRODUCTION (2 guides) EXHIBITION AND DISTRIBUTION (2 guides) PRODUCTION MASTER THE CAMERA Master the camera (camera shots, angles and movements) Top Tip Before you begin making your film, have a play with your camera: try to film something! A simple, silent (no dialogue) scene where somebody walks into the shot, does something and then leaves is perfect. Once you’ve shot your first film, watch it. What do you like/dislike about it? Save this first attempt. We’ll be asking you to return to it later. (If you have already done this and saved your films, you don’t need to do this again.) Professional filmmakers divide scenes into shots. They set up their camera and frame the first shot, film the action and then stop recording. This process is repeated for each new shot until the scene is completed. The clips are then put together in the edit to make one continuous scene. Whatever equipment you work with, if you use professional techniques, you can produce quality films that look cinematic. The table below gives a description of the main shots, angles and movements used by professional filmmakers. An explanation of the effects they create and the information they can give the audience is also included. -
Digital Video! I Didn't Know You Could Do That…™
SYBEX Sample Chapter Digital Video! I Didn't Know You Could Do That…™ Erica Sadun Chapter 9: Making Magic Copyright © 2001 SYBEX Inc., 1151 Marina Village Parkway, Alameda, CA 94501. World rights reserved. No part of this publication may be stored in a retrieval system, transmitted, or reproduced in any way, including but not limited to photocopy, photograph, magnetic or other record, without the prior agreement and written permission of the publisher. ISBN: 0-7821-2970-6 SYBEX and the SYBEX logo are either registered trademarks or trademarks of SYBEX Inc. in the USA and other countries. TRADEMARKS: Sybex has attempted throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer. Copyrights and trademarks of all products and services listed or described herein are property of their respective owners and companies. All rules and laws pertaining to said copyrights and trademarks are inferred. This document may contain images, text, trademarks, logos, and/or other material owned by third parties. All rights reserved. Such material may not be copied, distributed, transmitted, or stored without the express, prior, written consent of the owner. The author and publisher have made their best efforts to prepare this book, and the content is based upon final release software whenever possible. Portions of the manuscript may be based upon pre-release versions supplied by software manufacturers. The author and the publisher make no representation or warranties of any kind with regard to the completeness or accuracy of the contents herein and accept no liability of any kind including but not limited to performance, merchantability, fitness for any particular purpose, or any losses or damages of any kind caused or alleged to be caused directly or indirectly from this book. -
FILM & TELEVISION STUDIES Maste
FACULTY OF FINE ARTS SCHOOL OF FILM Secretariat Ikoniou 1, Stavroupoli, 56430 Tel.: +30 2310 990520 email: [email protected] ARISTOTLE UNIVERSITY OF THESSALONIKI FACULTY OF FINE ARTS SCHOOL OF FILM MASTER’S PROGRAM: FILM & TELEVISION STUDIES Master’s Thesis “Spatial and Temporal Continuity in One-Shot Films: Editing Goes Into Hiding” Georgios Dimoglou Prof. Eleftheria Thanouli Prof. Betty Kaklamanidou Prof. Stacey Abbott Thessaloniki, January 2021 School of Film, AUTh ACKNOWLEDGEMENTS Firstly, I would like to express my deep gratitude to Prof. Eleftheria Thanouli and Prof. Betty Kaklamanidou for their valuable guidance in regard to my thesis and their unabated support since my undergraduate years. Their passion for research and knowledge of film and television continue to motivate me as a student and aspiring researcher. I also extend my gratitude to Prof. Stacey Abbott for the time she dedicated to the evaluation of this thesis as well as for being a most inspiring teacher. I would also like to thank my talented postgraduate colleagues for motivating me and especially Pavlina, Eva and Paul for their support and friendship. The COVID-19 era has been an extremely arduous one and a lot of my longtime friends came to my aid in numerous ways. I am deeply grateful to Anna, Elena, Sofianna and Efi for having my back when I needed them the most. Maya, Kostas, Vasilis and Vaggelis are another huge part of my years in Thessaloniki and I am most thankful for our shared treasured memories as well as the memories we will create in the future. I would also like to express my deep sense of gratitude to Alkisti for being a most supportive colleague and an irreplaceable friend.