La Voyage Dans La Moon

Moon called is the book I am reading, it is the first book out of Patricia Briggs, Mercy Thompson series, a Fantasy Novel. First off, mercy doesn't have a normal life, she happens to be a Walker, which is a Native American shapeshifter meaning there is no connection with her and the moon, unlike werewolves. She has the ability to sense magic and she also has a very sharp nose, her full name is Mercedes Athena Thompson.

The most notable technique that separates film from other art forms is montage. Montage is the selecting, editing, and piecing together separate sections of film to form a continuous whole.[1] This is one of the most distinctive traits of cinema as it can alter our perspectives of the narrative and themes in an almost seamless fashion. The splicing of separate shots can imply a narrative cue that isn’t explicitly shown in the piece. In the Alfred Hitchcock film Psycho there is a sequence in which the protagonist, Marion Crane, is stabbed to death in a shower by the antagonist Norman Bates. The depiction of the murder isn’t specifically shown; the audience doesn’t ever view her body ever coming into contact with the knife stabbing. Hitchcock instead implies the murder through depicting several shots of a stabbing motion from the Norman character cut with shots of Cranes facial expressions of pain and close up shots of with her body in frame. This plot is further pushed by the splicing of shots of dark liquid running down the sink, providing they viewer the result of the spliced shots. The viewer is then able to perceive the ‘actions’ in the narrative sense and can readily assume the death of the Crane character. The psychology behind these shots is related to the Gestalt theory; which film theorist Rudolf Arnheim showed interest in through his writings. The Gestalt theory refers to the mind’s ability to take individual elements and categorize them as a unified whole. Arnheim believed in the “unreality of the [film] medium” (Münsterberg and Langdale, 2013) which in this case can be assimilated to the lack of physical replication of murder depicted in the scene. Arnheim’s

The following essay serves at part 3 of my series on the history of science fiction films. Please take a moment to check out part 1 and part 2 if you haven't done so already.

Overall the editing style of the film resulted in the audience wanting more to figure out what will happen next. The eye line match editing provided the viewers a sense of understanding of the plot. In addition to this, the sound in the movie highlighted essential moments and forced the audience to pay attention so they do not miss a crucial moment of the

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

A Voyage Long And Strange: On the Trail of Vikings, Conquistadors, Lost Colonists, and Other Adventurers in Early America

Editing is a true art form. The editor strives to impart visual variety to the picture by skillful shot selection, arrangement and timing. He recreates rather than reproduces the photographic event to achieve a cumulative effort often greater than all the actions in individual scenes put together. A motion picture is a custom-made jigsaw puzzle in which filmmakers fashion the individual pieces. Each piece requires special attention so that it will merge harmoniously with pieces surrounding it. Many editors prefer to make their cuts on movements so that the actual switch from one shot to another is masked by the action. The editing in Steel Magnolias uses wipes and fades to transition from one scene to the other. The editor uses

In examining how local and global relationships are mediated during the era of neoliberal globalization, there is a disconnect between appearance and reality. Despite an appearance of prosperity and benefits for both local and global spaces under a system of neoliberal globalization, it is instead an era of inauthentic prosperity in the core built off the exploitation of periphery nations. With the violent realities of neoliberal prosperity displaced to the periphery of the world-system, the genre of Afrofuturism allows literature to mediate and discover the importance of hidden histories while giving a voice to the marginalized. Nalo Hopkinson’s novel The New Moon’s Arms and Pauline Melville’s short story “The Sparkling Bitch” work to reconstruct

Sometimes these alterations are necessary for the movie to be understood, other times the director or screenwriter chooses to take stylistic or artistic liberties.

The article Man Takes First Steps on the Moon seeks to inform the audience of the United States’ moon landing. However, it also attempts to aggrandize the event using various occurrences of pathos. For instance, the text uses terms such as “spectacular moment,” “good shape,” “ultra careful,” “dramatic descent,” “spectacular shot,” etc. in order to create a dramatic effect. The article would then explore what other countries thought about the landing, using the despondent Russia to demonstrate feelings of defeat. Little ethos was used, since the article wasn’t meant to persuade, but inform, and since the Times newspaper is considered to be quite trusted. Most of the logos was in the form of quotations, such as “Tranquility base. The Eagle has

Sisters of Growth Throughout the beginning of time people have used art to express themselves. With each major, and minor, there is an artist that captures the world as it is around him. There are also artists that create fiction to give the world and escape from reality. The medium of

Editing is used to establish clear temporal and spatial relationship within the film space. The film clearly moves from one space to the next through the use of continuity editing. Each scene has a cause and effect relationship with the next. For example, after leaving the Monster in the forest, we are shown the townspeople assembling with their torches and pitchforks. The film cuts back to see the Monster chased and captured by the angry mob. Conversations are captured using shot-reverse shot. Transitions between shots are often fades and dissolves. The

The St Andrean film poster for Twinkletoes (Charles Brabin, USA, 1926), My Best Girl (Sam Taylor, USA, 1927), and Metropolis (Fritz Lang, Germany, 1927) signifies the rise of the star system and film production companies. Furthermore, it touches on the broadening of the local theatrical audience, the decline of the internationality of film, the popularity of female sexualization, the continued interest in spectacle, and the growing interest in the modern and futuristic. Additionally, the poster mentions the beginnings of a shift from focus on spectacle to narrative.

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.

Montage, a name synonymous with Editing, is an original film style with different techniques used by the Soviet filmmakers between 1924 and 1930 to construct a film narrative. Montage is the connection between one shot and the other, a continuous or discontinuous relationship between shots. According to David Bordwell and Kristin Thompson (2012: 478), Soviet directors maintained that, “through editing, two shots give birth to a feeling or idea not present in either one”. This ‘feeling’ or ‘idea’ then guides a viewer into understanding or making a “conceptual connection” of the narrative (Bordwell 1972: 10). Strike (1925) and Mother (1926), directed by Sergei Eisenstein and Vsevolod Pudovkin respectively, are films made in the Soviet Montage era that show a juxtaposition between shots across the film. This essay discusses the different techniques used in these films that show the functions and effects of Montage.