Who was Vsevold Pudovkin? Essay

film analysis to give the audience a better feel for what the character is going through. The director's

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

The One and Only Ivan by Katherine Applegate is about Ivan, a silverback gorilla who is raised by a human and lives in captivity at the Exit 8 Big Top Mall and Video Arcade. Ivan is brought to the Exit 8 after being captured and separated from his family while living in the wild. Ivan considers his new habitat a “domain” and refuses to admit that he is living in a cage. However, when Stella, an elephant, dies as a result of neglect, Ivan is forced to accept his situation. Moreover, he has to fight to keep the promise he made to save Ruby, a young elephant, from going down the same path as the rest of them. In her novel, The One and Only Ivan, Applegate uses characterization, setting, and plot to convey Ivan’s determination to become a protector.

For example, during The Big Fish, the story about the witch’s eye, the angle from where the camera was, showing the house, it meant to make the audience predict what was going to happen. Another example would be in Edward Scissorhands when Peg first went into Edwards room when he was sitting in the corner in the dark. the lighting and framing worked together to create suspense and make the audience worry for Peg’s safety. But another technique that ties both of these techniques together to create the effects of the viewers would have to be

Vladek went through the various Nazi genocide stages as brought out by Raul Hilberg. According to Hilberg, the four distinct phases of the Holocaust were identification, economic discrimination, and separation, concentration, and extermination. Although Vladek was not eventually exterminated, his close relatives and friends did not survive the lethal last stage through the various sugar-coated tactics employed by the Germans. The essay will scrutinize these Holocaust stages and relate them to the life events of the Vladek, the main character in Maus 1 and 2 written by Art Spiegelman. The works of other scholars in predicting the impacts of the Holocaust will also be looked at.

I knew before this book that editing is vital to the storytelling process. But I never thought about the relationship between cuts and the human eye. At first I thought Murch’s theory was a little strange, humorous. Then I thought about it, does not our eyes cut from one object to another? Murch’s best explanation for his cuts and human eye theory is an excerpt from an interview featuring John Huston by Louise Sweeney, writer for the Christian Monitor.

Film became a storytelling and artistic medium due in large part to the introduction of editing. Although cuts in film date back to the late 1800's, editing became more sophisticated when D.W. Griffith's practices of parallel and continuity editing emphasized comprehensive structure, while Sergei Eisenstein's montage theory established the connection between shots and the emotional or intellectual response they can elicit. Purposeful editing has since become a critical component in cinematic language. In the early 1900's, Soviet filmmaker Lev Kuleshov created The Kuleshov Effect to demonstrate that an audience would assign meaning to the juxtaposition of shots. This experiment showed the importance of carefully choosing visuals and their placement. These theories of montage allowed filmmakers opportunities to “show, not tell”, a defining characteristic in the experimental film genre.

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.

Looking back in time at the great composers of the world, only one foreign composer stands out for his many contributions to classical music and in helping America to find its own music. Antonin Leopold Dvorak was born on September 8th, 1841, in a small village of Nelahozeves in Bohemia that lies on the bank of the Mauldau River. The village Dvorak was born into was in good company and surroundings however also retained much of its native luster even through the worst times of political oppression (1).

Soviet cinema has a significant contribution to the world’s film history. The years after the October Revolution in 1917 bring many economic difficulties and political changes to the newly formed USSR, which also affected film production. The nationalization of the film industry, Kuleshov experiments, and the support from the government mark some of the most important phases that influenced the progress and development of the Soviet film. Even though used as medium of propaganda, the cinema popularity

Unlike Montage where by a combination series of short shots are edited into a sequence to condense space, time, and information, Soviet Montage on the other hand is a style of filmmaking that is evolved to immerse the audience in a story and disguise technique was turned upside down in order to create the opposite emotional effect to bring the audience to the edge of their seat, and in the case of the Odessa Steps sequence, to push the viewer towards a feeling of vertigo. In a simpler form, Soviet Montage combination series of short shots are edited into a sequence to create symbolic meaning.

Both Eisenstein and Vertov used montage in their films to generate revisionist histories of the Soviet Union. Though both were

In the early years of post production, there was a distinct lack of editing within the film industry. Everything filmed was for the most part one continuous shot and lacking too much creativity in the post production region. Edwin Porter was one of the key founders that changed the way post production was addressed. Although he originally filmed following what is referred to as Aristotelian construction (Musser, 1991, p167) he began paying closer attention to how a story could be told more effectively through visual representation. Edwin began straying away from Aristotelian construction and instead opted to use cutting to help him create the story he wished to create. Whilst this was not an

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

In one such sequence the cuts particularly fast and Vertov begins moving between a woman’s hands and a box sorting machine, creating a strong visual association between efficient worker and machine. I chose to edit in this same montage style but create associations between objects to portray a complete disconnect. Thus the sudden moves between silent screencapture footage and live action footage of the world. Another thing that I avoided in montage is parallel editing, something that Vertov uses to create a feeling of simultaneousness. By cutting between a man delivering mail in one location and a woman packing boxes in another, Vertov creates a temporal relationship so that we may think they are occurring at the same time. This gives the homonymous impression that all of society is at work, no matter where they are or what specific task they are performing, they work in tandem. In my film, I chose to refrain from parallel editing between locations, presenting new image sequence after new image sequence, reflecting the unstopping nature of the society I experience. I did attempt to create a rhythm between edits which is meant to build in energy and dissonance. This was meant to depict daily life as a constant progression of quick ever changing moments, largely experienced through the devices we carry.