The Art of Editing and Film Meaning Essay

Whether it be Jules’ recitation of Ezekiel 25:17 and his expansion on it in the diner, Vincent’s conversations with Mia, or Butch’s interactions with Fabienne, every line they say adds to their character and forms who they are and how the audience perceives them. Of course, like any character, their actions are extremely important, but Tarantino utilizes the characters’ dialogue to add what action can’t. This technique makes the characters so much more realistic and believable. As a result of this added depth, Pulp Fiction and its characters stand out from those of traditional Hollywood

What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?

Editing, Cinematography, and Sound in Gladiator The film that I have chosen to analyse is Gladiator. I have chosen to analyse the scene where the gladiators are battling in the Middle East. The scene contains many features and editing techniques which make the fight sequence exciting and thrilling.

Surrealism is a movement that built off of the burgeoning look into art, psychology, and the workings of the mind. Popularly associated with the works of Salvador Dali, Surrealist art takes imagery and ideology and creates correlation where there is none, creating new forms of art. In this essay I will look to explore the inception of the surrealist movement, including the Surrealist Manifesto, to stress the importance of these artists and their work in the 20th century and beyond. I also will look to films from our European Cinema course to express how films incorporate the influence of surrealism both intentionally and unintentionally.

I will be talking about editing work through the industry of media, we will start some of the software that is used in the industry today, these include, Premier pro, Avid, and final cut, avid has always been a strong editing software in the industry, but as some technology rises and falls premier pro is just edging the gap into the industry, as regular updates of this software make it the better choice for editing films together as different filters, transitions and bugs with in the software are updated, for the software to be crisp. Final cut on the other hand is mostly use by educational establishments for training people to use software like this in the future as in the last few years final cut has dropped down in consumer use as it is not been updated and is less consumer friendly for use then premier and avid, This is reason for it being used in education.

In conventional Hollywood cinema, narrative is subservient to the viewer 's overall pleasure and ease of understanding, as it provides an overarching framework which may elucidate the motivations and consequences of a character 's actions. However, Korine expresses his dismay with classical narrative, "I can 't stand plots, because I don 't feel life has plots. There is no beginning, middle, or end, and it upsets me when things are tied up so perfectly" (Geoff King, 59). As one may expect, JDB 's narrative structure challenges our expectations, dissolving any sense of linear continuity in favour of "a cinema of unpredictability" (Adrian

Anyone who is even vaguely aware with film usually has a favorite director. Why? What distinguishes one director from another? A director is “the person who determines and realizes on the screen an artistic vision of the screenplay; casts the actors and directs their performances; works closely with production design in creating the look of the film…and in most cases, supervises all postproduction activity, especially editing” (Barsam and Monahan 496). Clearly, the director of a film is lead visionary in how the film is made. But what makes some directors truly memorable and instantly recognizable? Those directors take advantage of all different kinds creative possibilities and signatures to become the true “author” of the film, also known

Soviet Montage is a movement driven by “Marxist [politics]” and an “economic philosophy” developed in Soviet Russia at the time of revolution. Lenin himself considered film, as an art form as the “most influential of all arts” as it not only entertained but could be used to “[mould] and reinforce values.”( Mast, G. & Kawin, B. F.) Sergei Eisenstein, himself a Marxist, is no exception to this and not only are his films are full of political propaganda, but he is also considered “the greatest master of montage.” .”( Mast, G. & Kawin, B. F.) His film October, called Ten Days That Shook The World in the Western world at the time and butchered due to its content, has always been considered problematic for audiences and critics alike and the standard critique of the film soon became “The Film as a whole is difficult and incoherent.” (Sperbur) Although if analysed properly, you can see that it has powerful political and social messages to convey and comprises of film form that Eisenstein himself called “intellectual film.”

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.

We talk a lot about what it means as a director to set a tone for your room. I really like the idea of the director as the guide who leads everyone on a path, but isn’t necessarily large and in charge. And a lot of that has to do with being able to create an environment where we can work and play and collaborate effectively while also being the one to make decisions. So what does it say when everyone in your room in miserable? When at a cast party, the stage manager turns to the set designer and says “we’re free?” What sort of a tone does it set when half the time, no one can find the director, setting everything to a halt?

to dramatize the people’s massacre through the symbolized slaughter of the bull. The jump-cuts and non-diegetic inserts, the use of graphic patterns of lines and shadows, the contrasts between long shots of the enemy and close-ups of citizens, contrasts between shots from different perspective of the regular people and the Bolsheviks are some other of the non-traditional and signature characteristics of Eisenstein’s films. Presented from citizens point of view editing achieves sympathy and compassion at the audience accepting the Revolution as their own point of view of the historical event. The montage of unique rhythm and graphic elements creates a wholeness of the film structure and defines the specific style of of intellectual editing in Sergei Eisenstein’s works and his propaganda vision.

Sergei Eisenstein and Dziga Vertov are among the most identifiable names in early Soviet film. Their contributions to film, in the areas of montage and documentary film respectively, have helped to structure film, as we know it today. However, apart from their theoretical contributions to the field, both directors played an imperative role in Soviet film during the 1920s and 1930s. This paper examines historical revisionism within their film, how their theories of montage influenced the revisionism, and how they were persistent in the use montage throughout their careers as filmmakers to assert themselves as artists.

In the movie the Butterfly Effect, directed by John R. Leonetti, there are many different elements of editing utilized to create unique suspenseful and thrilling scenes. Leonetti relies on editing to contribute to the overall thrilling sensation created in the movie. Editing in this movie generates many different effects, but the most noteworthy effects in the movie add to the continuity of the film as well as the sense of suspense and uncertainty. This movie is filled with flashbacks and flash-forwards because of the main character going back to the past to change his memories. In doing so he hopes to live the best life possible without destroying

Vanessa R. Schwartz, Gyan Prakash, and Camilo D. Trumper are authors who wrote books on urban globalization in different cities around the world. All three historians used cinema and film as part of their evidence in support of their different arguments. Schwartz, Prakash, and Trumper, however, agree that filmmakers created realities, either as entertainment, political messages, or reflections of their city. For Schwartz, Prakash, and Trumper, film reveals intimate details about cities during the time filmmakers created the films. Often filmmakers communicated their impressions, experiences, and ideas about the city through film and aspects of film production. These created realities were the result of different cultures within a city dealing

In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).