Purposeful Editing In The 1920's

However, In Ken Dancyger: The Technique of Film Video Editing History Theory and Practice states that the first invention of film was back in 1895 were editing was not even something they hoped to achieve. Edwin S Porter sued dynamics to show continuity in his film which consisting of 20 shots. He discovered that shots are the building block of the film, which is true, the whole film is made of shots that are compiled together, edited to make it seem like a one scene. The things we see today for editing to be specific we not taken into consideration, screen direction and continuity of the story. The cameras we placed fixed to one position and the act is far away from the screen.

The advent of television and television shows may have come long after film, but it enhanced film production almost instantly. Television naturally derived from early film since each uses basically the same medium: the motion picture camera. Since film had already set a base in the industry and mastered the new techniques and technology of cinematography, television had the opportunity to learn from film?s mistakes and advance itself quickly. For this reason, television evolved very rapidly and was able to develop its own technology and techniques separate from film. The concept of television became so popular and gained so much success that Hollywood began experimenting with the technology and techniques television had brought about. The

Eisenstein and Vertov are two filmmakers/theorists that made films to illustrate and emphasize their film theories. One of Eisenstein’s theories is that film should have a dialectic approach to create conflict. Furthermore, he states that conflict will spark active thinking in the spectator 's mind. Another theory from Eisenstein is the methods of montage. There are five methods, but the one he highlights the most is the intellectual montage, which helps create an idea through juxtaposition to make the audience think about the film and social issues. In comparison, one of Vertov theories states that film is like a medium of movement. Furthermore, he explains the movement is required to create montage and bring shots together in harmony. Another theory from Vertov emphasizes the camera eye. He explains how the camera can show the truths of the world better than the human eye. In summary Eisenstein demonstrates his theory of conflict and intellectual montage in October (1928) and The Battleship Potemkin (1925). Plus, both films get the audience to think about life and society. In comparison Vertov displays his theories of movement to create montage and the importance of the camera eye in The Man with the Movie Camera (1929) to illustrate cinema as a whole and show the power of the camera eye. To conclude, both Eisenstein and Vertov are able to effectively display their theories in film.

In contrast with Hollywood-style films, Soviet Montage focuses on documentary and historical subjects as well as having an emphasis on editing including split screens, varying speeds, and superimpositions. Specifically, the Kuleshov Effect, which are shots that are built and created to have a nonliteral meaning. For example, at the beginning of the film Roma, we as the audience get to see two places: where Cleo (a poor Mexican woman) works and where she lives. Cleo works as both a maid and babysitter in a nice, fancy house owned by a wealthy white family. However, Cleo lives in a tiny house just below the family that she works for.

In the 1920s there were many changes going on in America. Music styles changed, clothing styles changed, and people’s moods changed. Before the ‘Roaring 20s’ people had a very modest outlook on life: the music was very calm and outfits had a lot of coverage. During and after the 1920s people began to listen to new kinds of uplifting music, and clothing became more revealing. The American Dream was for everyone to feel like they had freedom and equality. The American citizens relaxed when World War II ended and were trying to find their happiness.

Editing is the joining of different shots to create meaning, and can be “one of the most significant instruments of effect” in film (Pudovkin). Russian film theorists Vsevolod Pudovkin and Lev Kuleshov have coined specific methods of editing which can be employed in order to reveal a deeper meaning (Sampson, Lecture 6.1). In the episode “The Empty Hearse” in the television show Sherlock by Mark Gatiss and Steven Moffat, the use of the Kuleshov effect, leitmotif, parallelism, and simultaneity all work to emphasize the innate connection between best friends Sherlock Holmes and John Watson, proving that they are the perfect pair. The use of the Kuleshov Effect in this episode allows the audience to feel John’s despair when thinking about Sherlock,

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.

Just two years prior, he made A Man with a Movie Camera, one of the most important experimental films of the 20th century. It had no story, but it did have highly innovative cinematography and pioneered several filmmaking and editing techniques.

Series editing is the method of compressing time by the way of only showing the important things which happen in sequence to quickly show a progression and carry on the story. This editing was prevalent throughout the movie and served its purpose well. Many times it would show the man carrying the camera then it would quickly progress to the point where he finds his perfect spot for filming things. Film theorist Sergei Eisenstein argues that series editing is "merely one possible particular case" of editing. He views montage as a collision, where the collision of two factors gives rise to an idea (Eisenstein, Beyond the Shot, page 19).

Edwin Hernandez Professor Bulington Introduction to Film 5 October 2015 Safe Observational Essay The invention of movies has greatly progressed over the many years since its creation. What was once pictures rapidly revolving around to appear as though the image was moving is now a series of high–tech editing and complex techniques. A common theme, however, has not changed as the years have gone by.

In class, as we watched a film the professor pointed out the editing in the movie. I found the

Another scene in American History X that Kaye uses effective editing to enhance the audience's emotions and feeling towards the characters Danny and Derek is the shower scene in which Derek washes away his sins. At the beginning of the scene Kaye uses an effective cut from a frame where Danny is wiping away a tear from his face to a frame where Derek’s hand is feeling the water in the shower. This is used to show that Danny and Derek are connected and they are both letting out their emotions and moving on from the trauma that has happened in the past. This is effective because we see both of the characters in a vulnerable state and see them finally moving on and leaving their past life behind. This gives the audience a sense of relief because we see Derek has decided he wants a different life for Danny, it makes the audience believe that the bad times are over and Danny and Derek are going to move on and start fresh.

Realism’s relationship with cinema and film form is one which has been debated since the beginnings of film theory. There are many different arguments on how best to capture realism on film. It came to the forefront of film theory in the 1930s and 40s through the Italian neorealism movement. Andre Bazin was a french film critic and theorist who is best known for his writing on realism in film. He argued that cinema is fundamentally realistic and that filmmakers should not alter what an audience views, with exception. He favours the long deep focus shot such as those used in Orson Well’s Citizen Kane. Sergei Eisenstein, a soviet director and theorist, favoured the opposite approach to achieving realism in film. Basing his theory around early work by Kuleshov and Pudovkin, Eisenstein championed montage as the only way to capture realism in film. His theory is based around the idea that reality is dialectical, with much of his work stemming from the politics of Karl Marx and Friedrich Engels. He argues that as reality is dialectical, then the filmmaking that seeks to capture this reality must also be dialectical. On the face of it these methods are polar opposites however they both attempt to solve the question of how best to capture realism in the cinema. Through this shared goal there is similarity in the two different theorists approaches that hint at neither method necessarily being more effective in capturing reality. Despite the debate on how best to capture realism,

The film industry has continuously changed since its inception due to rapid technology advancements. Camera technology has been a key factor that has influenced the growth of filmmaking. The first motion picture in the world was produced in the early 1880s, and the first public screening occurred ten years later. It didn’t take long for the quality of films to improve as new filmmaking equipment emerged. Ever since the first movie was produced, the film industry has been continuously changing in response to emerging filmmaking technology. Introduction of digital photography and digital data storage along with the development of internet significantly influenced the film industry (Barsam, 2015). These technologies contributed

The 1920’s and 30’s were an age of creativity and innovation. New improvements were especially common in the art of film-making. Animation in film was introduced. Walt Disney, through his innovations in color, realistic designs, and use of sound, revolutionized the motion picture animation industry.