Early Cinema Versus Modern Bodies Of Work

The efficacious nature of films owes its prominent properties to the array of editing techniques. In the aforementioned films , editing techniques stabilizes the movie and

During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that,

Film has revolutionized the world as we know it. In the current day and age film is quite advanced. You can watch movies with special effects and insane resolution there were never thought possible before. But film has not always been this way. Over the decades since around the 1900s when the first film was made there been amazing advances in technology and in acting. An examination of the past hundred or so years will show the amazing advances film has taken to come to what we know of it today.

It shows us the danger Mrs. Brisby has put herself in. The shot starting at 1:00:54-1:01:28 shows this perfectly by holding the shot on her as she is twitching, almost as if she was pacing back and forth. Moreover, when she goes for the bowl of cat food, the shot both zooms in and starts to shake violently. This depiction is enhanced even further when you consider the length of each of the shots in this sequence as all of them last less than three seconds each. This technic is used to keeps the tension high, as shortening the abbreviation between shots allows the audience to have less time to think and reflect on each of the shots

Secondly, rhythmic montage refers to continuity arising from the visual pattern within the shot, matching action and screen direction. Opposing forces can be presented in terms of opposing screen directions as well as parts of the frame. Tonal montage uses the emotional meaning of the shots not just manipulating the tempoaral length of the cuts or it’s rhythmical characteristics. Overtonal montage means the combination of the metric, rhythmic and tonal montage. Each element from each type of montage is derived and established into helping induce an effect from the audience. Intellectual montage refers to parallel cutting, where you will use two images, both of them have emotions that are interacting with each

The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.

Another interesting use of camera cutting can be found in the in between scene where Cleo is roaming the streets of Paris. She is now becoming the one watching other people rather than being the one watched as she was in the beginning (probably because of her beauty and famous singer status). While she is watching the camera cuts between other people’s conversations and then while she is walking the camera is in essence her point of view. However during this walk, the people passing are watching her as well, thus proving that this is the transition time. The use of cutting between shots of her and shots of all these people passing her not only show this change in who is watching who, but also allows for a sense of time passing. Interspersed with these shots are images of people we have already met, the widow, the boyfriend, the piano player, as well as the images of a monkey resting on a clock and her wig resting on the mirror, these things conveying how the people who know her see her and how she sees herself. This is a genius montage because these two things represent the same thing, how people see her, how she sees people, and how she sees herself, and by interspersing them we see

Editing is the joining of different shots to create meaning, and can be “one of the most significant instruments of effect” in film (Pudovkin). Russian film theorists Vsevolod Pudovkin and Lev Kuleshov have coined specific methods of editing which can be employed in order to reveal a deeper meaning (Sampson, Lecture 6.1). In the episode “The Empty Hearse” in the television show Sherlock by Mark Gatiss and Steven Moffat, the use of the Kuleshov effect, leitmotif, parallelism, and simultaneity all work to emphasize the innate connection between best friends Sherlock Holmes and John Watson, proving that they are the perfect pair. The use of the Kuleshov Effect in this episode allows the audience to feel John’s despair when thinking about Sherlock,

Movie editing imparts a sense of time and space. Editing is critical in helping the audience understand the stories in Sherlock Jr. and “Holding On.” The editing depicting spatial relations, continuity, and discontinuity is critical to understanding these silent movies.

Vertov and Eisenstein are each convinced that their own vision of cinema is correct. Both are extremists in their own ways. How do their visions differ? What do they have in common? How are both of their visions of cinema "revolutionary?"

Sergei Eisenstein was a Soviet film director, who directed Battleship Potemkin. A famous scene in the film is the Odessa Steps sequence. The Odessa Steps sequence is an example of Eisensteinian attractions, which is a tactic that is used to shock or jolt the audience, mainly through editing. The scene I am describing is segment C. Segment C is the scene that consists of the cherub statues, the collapsing iron gate, and the lion statues. Segment C consists of nine shots.

In this essay I will be discussing five key points throughout Post Production history between the 1900s-1960s. Post Production is seen as a vital component in the cinematic industry as it essentially finalises the final products. Techniques that have been developed over the years are incredibly important, but they all have an origin. Although these techniques started out without overwhelming effect, they are now unbelievably crucial to how films are constructed. The five points I wish to discuss go as follows: The Great Train Robbery and Edwin Porter himself, D.W. Griffith and his overwhelming influence on editing, The Jazz Singer, the Kuleshov Effect and finally, 2001: A Space Odyssey. As well as discussing these key factors, this essay will take into consideration secondary material.

The use of editing within Porter’s films help audiences follow the progressing linear narrative, more specifically the technique of intercutting allowed Porter to shift the action between the protagonist and the antagonist.

The Kuleshov Workshop explored the effects of juxtaposition in film, and how sequential shots convey a

Editing manipulates the audience’s point of view of the story. Different cuts can delineate the plot and the meaning of the images distinctively. Battleship Potemkin, directed by Sergei Eisenstein was the example of how editing created emotions to the viewers in the theatre. The editing made the sequence into a lesson of how the Soviet Union authority was pressuring the public with complete dominance of violence.