The Technique of Film and Video Editing: History, Theory, by Ken Dancyger

By Ken Dancyger

The means of movie & Video modifying presents an in depth, detailed examine the inventive and aesthetic rules and practices of modifying for either photo and sound. Analyses of pictures from dozens of vintage and modern motion pictures and video clips supply a legitimate foundation for the pro filmmaker and scholar editor. This booklet places into context the storytelling offerings an editor must make opposed to a heritage of conception, historical past, and perform. This new version has been up-to-date to incorporate the most recent advances in electronic video and nonlinear modifying and explores the hot development of documentary as mainstream leisure, utilizing movies corresponding to "Farenheit 9/11" and "The Fog of War" as examples.

* the way to enhance your tale and have interaction your viewers during the enhancing process
* Examples, research, and movie stills from nice movies
* features a new bankruptcy at the effect of documentaries

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Additional resources for The Technique of Film and Video Editing: History, Theory, and Practice (4th Edition)

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Still provided by British Film Institute. 4 Broken Blossoms, 1919. Still provided by British Film Institute. 5 Broken Blossoms, 1919. Still provided by British Film Institute. 6 Broken Blossoms, 1919. Still provided by Moving Image and Sound Archives. 7 Broken Blossoms, 1919. Still provided by British Film Institute. 9 Broken Blossoms, 1919. Still provided by British Film Institute. 8 Broken Blossoms, 1919. Still provided by British Film Institute. 10 Broken Blossoms, 1919. Still provided by British Film Institute.

The Fox Corporation invested in a sound-onfilm system, Movietone. Photophone, an optical system produced by RCA, eventually became the industry standard. In 1927, though, Photophone had not yet been tested in an actual production, whereas Warner Brothers had used Vitaphone in The Jazz Singer and Fox had produced the popular Movietone news. To use sound on film, several technological barriers had to be overcome. The problems revolved around the recording system, the microphone quality and characteristics, the synchronization of camera and sound disk playback, and the issue of sound amplification.

Indb 31 9/10/2006 8:31:53 PM 32 h history of film editing an even greater influence. Salvador Dali and Luis Buñuel, Spanish artists, were particularly attracted to the possibility of making surrealist film. Like Vertov in the Soviet Union, Buñuel and Dali reacted first against classical film narrative, the type of storytelling and editing represented by Griffith. Like Eisenstein, Buñuel particularly viewed the use of dialectic editing and counterpoint, setting one image off in reaction to another, as a strong operat­ ing principle.

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