Time in cinema
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This document discusses concepts of time in cinema. It begins by explaining that film is inherently a time-based medium structured around duration. Filmmakers use techniques like temporal markers and editing to manipulate the experience and flow of time. Early films by the Lumière brothers and Alice Guy Blaché explored the discoveries of capturing time through a motion picture. There are different types of time in film including scene time, duration, and simultaneous time. Exercises are proposed to experiment with capturing the passage of time through long takes, cuts, and transformations over the duration of a shot.
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This is a comprehensive guide to editing for film studies students and teachers alike. With over 30 pages of content and at over 13,000 words in length, you’ll not find a guidebook, resource or textbook that is as detailed, as insightful or as adaptable as this.
If you like the look of the booklet please find it available to purchase by searching online for FILM STUDIES IAN MORENO-MELGAR SELLFY
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Each section includes detailed explanations, expert analysis and insight, dozens of tasks, dozens of images, links to hundreds of videos on YT, a mini-glossary for students to complete and assessments.
It’s also a great resource to copy information from and then paste into whatever work you need to set or deliver. This means that you can use this electronic text book as a guide for you as the teacher, as a resource for students to use in the classroom, to be broken up and used as individual worksheets, for revision, for homework, for remote learning or for students who are self-isolating and unable to be in lessons in person.
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EDITING TECHNIQUES.ppt
1. The document discusses various film editing techniques such as the editor's cut, director's cut, and final cut which represent different stages of editing a film.
2. It explains concepts like the Kuleshov effect, continuity editing, deciding where to cut footage based on emotion, story, rhythm, eye trace, and planarity.
3. Various editing techniques are defined like jump cuts, axial cuts, match cuts, fast cutting, cross-cutting, slow cutting, match on action, and overlapping editing. Examples are provided of films that demonstrate these techniques effectively.
One Shot Short Introduction
The document discusses one shots in filmmaking. A one shot is a continuous shot with no edits that tells a complete story or idea. Planning is critical to the success of a one shot. Hitchcock's 1948 film Rope used long 10 minute takes with carefully planned camera movements and props to hide cuts. The document provides tips for developing, previsualizing, and polishing a one shot film.
Lo234
Editing involves joining images together to create meaning and tell a story. Key techniques editors use include controlling shot length to set tempo, using transitions between shots, and precisely timing shots. Editing draws attention through close-ups and establishes settings. Cutting between shots of two people in conversation (shot reverse shot) or matching a character's eye line builds narrative and draws viewers into the story.
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Editing booklet gcse a level film studies revision homework distance lerning ...
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2. The BFI works in this context through programs like Into Film, which focuses on after school film clubs, and the BFI Film Academy, which provides industry skills training.
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Time in cinema
- 1. Time in Cinema Cinema Cent Ans de Jeunesse 2020/21 My list of clips: https://vimeo.com/channels/1654007 Bergala’s bigger list of clips; https://cloud.cfav.fr/index.php/s/PjDWTzycqkyRot6?path=%2F
- 2. Time in Film and in Print: differences and similarities?
- 3. Time in Cinema: some key concepts Film is a time-based medium first and foremost; before the image and sound there is time Film is structured around duration Film-makers often use temporal markers to structure their stories Time is imprinted on film, in movement, for example The temporal rhythms of film are created through editing and shot length
- 4. Early film: what they discovered about film time • Lumière Bros: Arrival of a Train; Washerwomen on the Seine; A Tour of the Grand Canal; Exiting the Factory Gates: • Lumières’ first fiction: the Sprinkler Sprinkled • Alice Guy Blaché: Serpentine Dance • https://vimeo.com/channels/1654007
- 5. DURATION • The first discovery of time in cinema: ‘the moment in time lived for real’. • And the second discovery: that the ‘time of the tale’ isn’t the same as the ‘time it takes to tell.’ • Sometimes we can find different time- frames in the same shot
- 6. DURATION https://vimeo.com/channels/1654007 A Sunday Morning, Damien Manivel, 2012 Nostalgia, Andrei Tarkovsky, , 1983
- 7. Temporal markers how many can you name?
- 8. Temporal markers The Green Ray, Eric Rohmer, 1986 Madame de…, Max Ophuls 1953 El Sur, Victor Erice, 1983
- 12. The long take: two types
- 13. Rules of the Game Exercise 1 Following the suggestions below, make three shots exploring the notion of time in terms of how long the shot runs, each film being up to a maximum of two minutes in length. Shot 1: A record of time, recording the continuity of an action or the visible ‘imprint of time’. Shot 2: A recording which captures dynamic tension linked to the duration of the shot. (eg, filming something over which the filmmaker has no control, and which creates a tension against another action: ‘countdown’ shots are perhaps the most obvious example of this, where a character is put under time pressure) Shot 3: Capture a physical transformation or change, which takes place over the duration of the shot. Each of these exercises can be done individually (outside of class) or in a group during the workshop. Ideally, Shot 1 will be the work of the participants on their own, and the other exercises performed in groups.
- 14. Rules of the Game Exercise 2 Film the same action / situation in 2 different ways: One: A single long take, where the action is not cut at all, everything is captured in one continuous take which lasts the length of the action. Two: Film the action / situation through a number of shots and then cut and edit them together. Sound must be a vital component of this exercise. The location, movement and any dialogue must be remain the same between the two variations, only the actors can be different. It’s important to see this as film of an action or actions, rather than a ‘long take’ of a scene or setting in which there is no story action. Maximum 3 minutes of length for each version.
- 15. Rules of the Game Final Film Make a film that mixes ‘showing’ and ‘telling ’. Particular attention will be paid to the rhythm of the film, which must include one or more changes of pace. Sometimes the scenario of the film will be set aside so that the character (or the viewer) experiences the sensation of time passing. 10 mins maximum excluding credits.