1. The introduction of sound films initially led to a regression in film technique, with the picture becoming merely a background to the soundtrack. However, sound ultimately provided directors with new means of storytelling through subtle hints in dialogue.
2. In sound films, the order of shots must be planned early due to locking picture to dialogue, whereas silent films afforded more freedom. Editing involves assembling shots according to timing and smoothness of continuity.
3. Who has primary responsibility for editing varies, but the director typically controls the visual continuity and implied vision, while collaborating with writers and editors. When authenticity is the goal, allowing the director main control tends to yield better results.
Film studies as an academic discipline emerged in the twentieth century, decades after the invention of motion pictures. Not to be confused with the technical aspects of film production, film studies exists only with the creation of film theory—which approaches film critically as an art—and the writing of film historiography. Because the modern film became an invention and industry only in the late nineteenth century, a generation of film producers and directors existed significantly before the academic analysis that followed in later generations.
Film studies as an academic discipline emerged in the twentieth century, decades after the invention of motion pictures. Not to be confused with the technical aspects of film production, film studies exists only with the creation of film theory—which approaches film critically as an art—and the writing of film historiography. Because the modern film became an invention and industry only in the late nineteenth century, a generation of film producers and directors existed significantly before the academic analysis that followed in later generations.
Film Language: Camera angles and shot size introduction for Film Studies. Als...Ian Moreno-Melgar
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera shot sizes and angles. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've labelled what the film is. Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies.
Film Language: Camera Movements in Cinema and Film Studies. Ian Moreno-Melgar
A long PDF that has been used to introduce GCSE Film Students to the complicated process of identifying and explaining the use of camera movement. This is a fairly detailed series of slides which I have used in school for a couple of classes now. As it is a PDF the clips do not play but where possible I've used SlideShare and YouTube to embed the relevant videos which is why some images or slides may appear repeated. Included on the slide are a list of the videos referred to and used. . Similarly, as it was designed to be used in lessons the overall 'structure' is somewhat disjointed and is missing slides that includes answers or ideas that were discussed in lessons. In order to help where possible, I've included large versions of worksheets so that these can be clipped and printed out if necessary. Many thanks for taking a look and please feel free to take a look at my other uploads as you will find plenty there on other aspects of Film Studies
This is a brief exposition on the history, nature and basic processes in filmmaking. This can be used in Humanities classes on the topic--the art of motion picture or film.
This slideshow is being used by Film Studies 3030 at the University of Lethbridge, Calgary campus. The slide information is largely derived as commentary for the Giannetti and Leach textbook, Understanding Movies, and Richard Barsam's Looking at Movies.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
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This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Normal Labour/ Stages of Labour/ Mechanism of LabourWasim Ak
Normal labor is also termed spontaneous labor, defined as the natural physiological process through which the fetus, placenta, and membranes are expelled from the uterus through the birth canal at term (37 to 42 weeks
MATATAG CURRICULUM: ASSESSING THE READINESS OF ELEM. PUBLIC SCHOOL TEACHERS I...NelTorrente
In this research, it concludes that while the readiness of teachers in Caloocan City to implement the MATATAG Curriculum is generally positive, targeted efforts in professional development, resource distribution, support networks, and comprehensive preparation can address the existing gaps and ensure successful curriculum implementation.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
2. o “The development of film technique… has been primarily the development of
editing.” –Ernest Lindgren
o The introduction of sound lead to a regression.
All dramatic effects derived from soundtrack.
Picture was simply a background.
Resulted in a dull and unimaginative presentation.
Microphones had to be static on the set.
o Despite much resistance, sound in synch with the picture survived by giving the
director yet another means to deliver the message.
Inessentials can be communicated without wasting shots.
Subtle hints in the dialogue or soundtrack.
o Two main changes that sound has brought.
Greater economy in story-telling.
High standard in realistic presentation.
3. WHO EDITS A FILM?
o The Order of Shots
In silent films, Director and Editor worked with much freedom.
In sound films, the picture is often locked to the dialogue or sound effects.
• Because of this, order of shots must be planned early in production.
• In a sense the script controls the order of shots.
o Selection of Camera Set-ups: Emphasis
Much the same since Griffith first applied it.
Outlined in script by Writer.
Director has input during production.
With a lot of coverage the Editor will assemble how they deem fit.
Although planning is the best course of action.
4. o Timing
In silent films, controlled by the rate of cutting; timing determined by their visual content.
In sound films, the Editor can achieve effects not inherent in the picture or soundtrack
individually.
• Use L-cuts to carry sound from one shot to another; i.e. reaction shots in a dialogue scene.
• Play sound and picture in parallel or in counterpoint.
• Often minute adjustments that are tough to pre-plan before the material is shot.
o Presentation: Smoothness
There is an inherent abruptness in cutting between shots.
German-filmmakers the first to attempt cutting on movement in a shot.
Constructing a smoothly flowing continuity is the main preoccupation of the modern Editor.
Most duties are now shared between Writer, Director, and Editor.
5. THE CONTRIBUTION OF EDITING
o Ultimately, who contributes to the edit will vary from production-to-production.
British productions, the Director is the key figure.
• Collaborates on shooting script.
• Supervises editing.
• Final continuity rests with Director and Editor.
Hollywood productions, Director follows the writer’s directions in the script.
• The Producer is more concerned with the creative process.
• Producer supervises editing process.
Not always the case, there are exceptions.
• Preston Sturges, John Huston; writes and directs.
• Charlie Chaplin; writes, produces, and directs.
• John Ford; produces.
• Orson Welles; solely responsible for Citizen Kane.
6. o Who should ideally be responsible for writing?
Thorold Dickinson presents a strong case that the Director should control the script.
Others propose a Director/Writer/Editor partnership.
The Director should normally be in charge.
• Responsible for planning the visual continuity during shooting.
• Implies control over the edit so it matches the vision on the floor.
Most Directors want control but do not insist on writing.
• Writing dialogue takes a special skillset.
• Writer must have a talent for imaginative visual treatment.
When a Director is made to shoot a tight script, film can be static and wordy.
In Hollywood, script is written for the star; not necessarily for the story.
• Exploit the star’s drawing power at the box office.
• Sometimes good films emerge, but not often the case.
• Too many creative concessions have to be made in the name of screen time.
7. Some films do not owe primary appeal to the Director.
• Preston Sturges films; work of a brilliant dialogue writer.
Sullivan’s Travels (1941)
The Lady Eve (1941)
• Good musicals often recognize the Dance Director.
• Cecil B. deMille epics; Set Designer is a key figure.
The Ten Commandments (1956)
Cleopatra (1934)
• These films tend to indulge in their own stylistic distortion and do not focus on reality.
• When authenticity and realism is the goal the Director must be mainly in charge.
8. SPECIAL STYLES OF EDITING
o Actual sound created an issue in editing.
Action sequences are problematic.
Visuals are not connected physically, the actual sound of each shot can become a
meaningless jumble of sounds when cut in rapid succession.
Must have a unifying soundtrack; music or sound effects.
o Early filmmakers in the sound period used symbolism for effect.
Alfred Hitchcock, Blackmail (1929)
• Uses a painting of a laughing clown.
Rouben Mamoulian, City Streets (1931)
• Ornamental cats as a sign of jealousy.
• Shot of birds in flight outside a prison to symbolize freedom beyond the bars.
• Snuffing a match to allude to a murder.
9. o Introduction of sound caused filmmakers to focus on realistic narrative and resulted
in a discarding of silent film techniques of indirect visual allusion by choice not by
limitations of technology.
Ernest Lindgren argues that there was no need to abandon these techniques.
• Subjective commentary should always be a natural part of the story’s setting.
The Russians broke this convention in some of their best works.
In October, Eisenstein satires religious ceremonies by using images from religious locations from
around the world, completely ignoring the story’s natural locale.
o British documentaries of the 1930’s further developed Eisenstein’s theory.
Relational Editing, editing to an idea
o With Relational Editing and Compilations, the Editor assumes an important role;
similar to the silent era.
o “At present, one can only hopefully anticipate the films of some future
Director, working in the sound medium, but with the freedom of a Griffith, an
Eisenstein, or a Dovzhenko.”