Flash-Forward: the Future Is Now 2016
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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. -
(500) Days of Summer 2009
(500) Days of Summer 2009 (Sökarna) 1993 [Rec] 2007 ¡Que Viva Mexico! - Leve Mexiko 1979 <---> 1969 …And Justice for All - …och rättvisa åt alla 1979 …tick…tick…tick… - Sheriff i het stad 1970 10 - Blåst på konfekten 1979 10, 000 BC 2008 10 Rillington Place - Stryparen på Rillington Place 1971 101 Dalmatians - 101 dalmatiner 1996 12 Angry Men - 12 edsvurna män 1957 127 Hours 2010 13 Rue Madeleine 1947 1492: Conquest of Paradise - 1492 - Den stora upptäckten 1992 1900 - Novecento 1976 1941 - 1941 - ursäkta, var är Hollywood? 1979 2 Days in Paris - 2 dagar i Paris 2007 20 Million Miles to Earth - 20 miljoner mil till jorden 1957 20,000 Leagues Under the Sea - En världsomsegling under havet 1954 2001: A Space Odyssey - År 2001 - ett rymdäventyr 1968 2010 - Year We Make Contact, The - 2010 - året då vi får kontakt 1984 2012 2009 2046 2004 21 grams - 21 gram 2003 25th Hour 2002 28 Days Later - 28 dagar senare 2002 28 Weeks Later - 28 veckor senare 2007 3 Bad Men - 3 dåliga män 1926 3 Godfathers - Flykt genom öknen 1948 3 Idiots 2009 3 Men and a Baby - Tre män och en baby 1987 3:10 to Yuma 2007 3:10 to Yuma - 3:10 till Yuma 1957 300 2006 36th Chamber of Shaolin - Shaolin Master Killer - Shao Lin san shi liu fang 1978 39 Steps, The - De 39 stegen 1935 4 månader, 3 veckor och 2 dagar - 4 Months, 3 Weeks and 2 Days 2007 4: Rise of the Silver Surfer - Fantastiska fyran och silversurfaren 2007 42nd Street - 42:a gatan 1933 48 Hrs. -
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). -
PDF) ISBN 978-0-9931996-4-6 (Epub)
POST-CINEMA: THEORIZING 21ST-CENTURY FILM, edited by Shane Denson and Julia Leyda, is published online and in e-book formats by REFRAME Books (a REFRAME imprint): http://reframe.sussex.ac.uk/post- cinema. ISBN 978-0-9931996-2-2 (online) ISBN 978-0-9931996-3-9 (PDF) ISBN 978-0-9931996-4-6 (ePUB) Copyright chapters © 2016 Individual Authors and/or Original Publishers. Copyright collection © 2016 The Editors. Copyright e-formats, layouts & graphic design © 2016 REFRAME Books. The book is shared under a Creative Commons license: Attribution / Noncommercial / No Derivatives, International 4.0 (http://creativecommons.org/licenses/by-nc-nd/4.0/). Suggested citation: Shane Denson & Julia Leyda (eds), Post-Cinema: Theorizing 21st-Century Film (Falmer: REFRAME Books, 2016). REFRAME Books Credits: Managing Editor, editorial work and online book design/production: Catherine Grant Book cover, book design, website header and publicity banner design: Tanya Kant (based on original artwork by Karin and Shane Denson) CONTACT: [email protected] REFRAME is an open access academic digital platform for the online practice, publication and curation of internationally produced research and scholarship. It is supported by the School of Media, Film and Music, University of Sussex, UK. Table of Contents Acknowledgements.......................................................................................vi Notes On Contributors.................................................................................xi Artwork…....................................................................................................xxii -
Elizabeth's Britain
issue | june 195 2012 www.prospect-magazine.co.uk june 2012 | £4.50 $6.99 €6.90 60 years of 60 years of progress? progress? Elizabeth’s Britain Hacking scandal: it will spread 9 A$10.95 A$10.95 ISSN 1359-5024 ISSN Will Self: seduced by advertising 771359 NZ$12.50 US$6.99 US$6.99 NZ$12.50 Eliot Spitzer: back from disgrace 502057 € Stephanie Flanders: the Occupy verdict Can$7.99 6.90 Richard Dawkins: betraying Darwin 06 Foreword Britain’s brand of freedom 2 Bloomsbury place, London wc1a 2qa Publishing 020 7255 1281 Editorial 020 7255 1344 Fax 020 7255 1279 Email [email protected] [email protected] Website www.prospect-magazine.co.uk Editorial Editor and chief executive Bronwen Maddox Editor at large David Goodhart Deputy editor james elwes In the 60 years since princess elizabeth acceded to the throne, Politics editor james Macintyre Books editor David Wolf Britain has become a better place to live. More people think Creative director David Killen Production editor ollie cussen that than think the opposite (see YouGov’s extensive survey for Web intern Annalies Winny Editorial assistant tina nandha Prospect, p38); those under 40, and in London and the south, Publishing are markedly more cheerful. those who demur might read, in President & co-founder Derek coombs Publisher David Hanger simon jenkins’s panorama (p30), his reminder of past Circulation marketing director jamie Wren attitudes to women, children and gay rights and to actions now Digital marketing: tim De La salle Advertising sales director defined as crime. -
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. -
On Space in Cinema
1 On Space in Cinema Jacques Levy Ecole polytechnique fédérale de Lausanne [email protected] Abstract The relationship between space and cinema is problematic. Cinema can be seen as a spatial art par excellence, but there are good reasons why this view is superficial. This article focuses on geographical films, which aim to increase our understanding of this dimension of the social world by attempting to depict inhabited space and the inhabitance of this space. The argument is developed in two stages. First, I attempt to show the absence both of space as an environment and of spatiality as an agency in cinematographic production. Both of these contribute to geographicity. Second, I put forward and expand on the idea of opening up new channels between cinema and the social sciences that take space as their object. This approach implies a move away from popular fiction cinema (and its avatar the documentary film) and an establishment of links with aesthetic currents from cinema history that are more likely to resonate with both geography and social science. The article concludes with a “manifesto” comprising ten principles for a scientific cinema of the inhabited space. Keywords: space, spatiality, cinema, history of cinema, diegetic space, distancing, film music, fiction, documentary, scientific films Space appears to be everywhere in film, but in fact it is (almost) nowhere. This observation leads us to reflect on the ways in which space is accommodated in films. I will focus in particular on what could be termed “geographical” films in the sense that they aim to increase our understanding of this dimension of the social world by 2 attempting to depict inhabited space and the inhabitance of this space. -
Kubrick's Match Cut in 2001
Kubrick’s Match Cut in 2001: A Space Odyssey Stanley Kubrick’s renowned film, 2001: A Space Odyssey, is one of peculiar filmmaking and storytelling strategies. From the farfetched implications of the technological advancements of the future from a 1968 perspective to the use of odd motifs throughout the film, Kubrick’s film gives audiences something to think about throughout and after watching. One of the most significant scenes of the entire movie is the use of a match cut between the shot of a primate with a bone and an unknown spacecraft floating through outer space. A “match cut” can be defined as two shots edited consecutively which both possess a similar visual structure; the objects in a match cut are to be in the same place in each frame and have the same type of focus structure, as to not break the continuity of a plot and ultimately create a greater meaning of the story. In the case of 2001: A Space Odyssey, a bone is matched in the same vertically flying pattern as a spaceship in the second shot. In the former shot, the bone is propelled into the air after the primate who was holding it found new uses for it; as it is thrown in the air, it is put into a slow motion single shot, as to imply something for the audience to figure out. In the latter shot, the spaceship is in the same diagonal alignment as the bone in the previous shot and has the same type of shape. This match cut provided an array of arguments between filmmakers and historians alike regarding the implications of the shot’s meaning. -
Cinema 2: the Time-Image
m The Time-Image Gilles Deleuze Translated by Hugh Tomlinson and Robert Caleta M IN University of Minnesota Press HE so Minneapolis fA t \1.1 \ \ I U III , L 1\) 1/ ES I /%~ ~ ' . 1 9 -08- 2000 ) kOTUPHA\'-\t. r'Y'f . ~ Copyrigh t © ~1989 The A't1tl ----resP-- First published as Cinema 2, L1111age-temps Copyright © 1985 by Les Editions de Minuit, Paris. ,5eJ\ Published by the University of Minnesota Press III Third Avenue South, Suite 290, Minneapolis, MN 55401-2520 f'tJ Printed in the United States of America on acid-free paper 1'::>55 Fifth printing 1997 :])'''::''531 ~ Library of Congress Number 85-28898 ISBN 0-8166-1676-0 (v. 2) \ ~~.6 ISBN 0-8166-1677-9 (pbk.; v. 2) IJ" 2. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or othenvise, ,vithout the prior written permission of the publisher. The University of Minnesota is an equal-opportunity educator and employer. Contents Preface to the English Edition Xl Translators'Introduction XV Chapter 1 Beyond the movement-image 1 How is neo-realism defined? - Optical and sound situations, in contrast to sensory-motor situations: Rossellini, De Sica - Opsigns and sonsigns; objectivism subjectivism, real-imaginary - The new wave: Godard and Rivette - Tactisigns (Bresson) 2 Ozu, the inventor of pure optical and sound images Everyday banality - Empty spaces and stilllifes - Time as unchanging form 13 3 The intolerable and clairvoyance - From cliches to the image - Beyond movement: not merely opsigns and sonsigns, but chronosigns, lectosigns, noosigns - The example of Antonioni 18 Chapter 2 ~ecaPitulation of images and szgns 1 Cinema, semiology and language - Objects and images 25 2 Pure semiotics: Peirce and the system of images and signs - The movement-image, signaletic material and non-linguistic features of expression (the internal monologue). -
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. -
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.