By Karel Reisz
Thank goodness this vintage ebook has get back into print! although The means of movie Editing has now not been revised due to the fact that 1968, it really is nonetheless the one so much accomplished and fascinating quantity on movie modifying. Karel Reisz and Gavin Millar introduce readers to each element of the editor's craft. they supply a concise background of modifying and describe enhancing type because it applies to each style of moviemaking, together with the various varieties of narrative and documentary movies. the actual calls for of wide-screen filmmaking, cinema vérité, and the avant-garde also are coated. Reisz and Millar's account of the diversities among soft and abrupt modifying and their amazing feel of modifying for dramatic influence instead of for realism make this ebook a necessary for apprentice editors, in addition to when you need to know how filmmakers comprehend their paintings. -- Dieser textual content bezieht sich auf eine andere Ausgabe: Taschenbuch .
The superior model of the seminal textual content on modifying encompasses a new foreword, a brand new afterword, a remodeled hide and format, in addition to a lower cost! it's the unmarried such a lot complete and fascinating quantity on movie modifying. Reisz and Millar introduce readers to each element of the editor's craft, supplying a concise background of enhancing and describing modifying sort because it applies to each style of moviemaking, together with many varieties of narrative and documentary movies. the actual calls for of wide-screen filmmaking, cinema verite, and the avant-garde also are coated. Reisz and Millar's account of the diversities among delicate and abrupt modifying and their extraordinary experience of modifying for dramatic impression instead of for realism make this booklet crucial for apprentice editors, in addition to those that need to know how filmmakers comprehend their paintings. It contains a new foreword and a brand new afterword. New format positive factors wider trim for less complicated clarity and extra excellent determine placement, whereas sidebars and assistance call-outs offer quick-access to key suggestions and concepts. it truly is an stronger model and at a lower cost.
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Extra info for The Technique of Film Editing
U. Kerensky’s face, still and intense. S. Garland in the statue’s hands. U. Kerensky, as in 24. His expression relaxes into a smile. S. Garland, as in 25. Kerensky ascends the stairway farther and is greeted by the Czar’s large, richly decorated footman. Kerensky, despite attempts at dignity, looks small beside this imposing ﬁgure. He is introduced to a whole line of footmen and shakes hands with each one. What a democrat! 17 The Technique of Film Editing 40–74 75–79 80–99 100–105 106 107 108 109 110 111–124 125 126 127 128 129 130 131 132 133 134 135 18 Kerensky waits before the huge ornate palace doors leading to the Czar’s private quarters.
The whole passage is typical of Eisenstein’s method: its “plot” is almost non-existent—Kerensky is simply walking up a staircase; it is in the comments and symbolic allusions that the meaning is conveyed. The next incident is relatively simple: more ridicule is heaped upon Kerensky in a straightforward narrative passage. After this, in 40–74, Eisenstein resumes his oblique approach: throughout this section Kerensky stands still and all the signiﬁcant meaning is conveyed by the sequence of close shots—gloves, boots, door-locks, the peacock—which produce ironic overtones quite outside the range of a more conventionally staged scene.
One imagines that shots 3 and 5 might have been used as one continuous take: possibly this was intended, but the end of the take used in shot 3 was for some reason unsatisfactory (or the take used in shot 5 unsatisfactory towards the beginning, or both) and the two takes had to be bridged by cutting away to shot 4. Similarly, it will be noticed that the camera set-up used in shot 3 is from the opposite side to that envisaged in script-scene 38. The reasons for this are a little more complex. Immediately following 5, a series of rapid close-ups is used: coming after an extremely long, slow-moving shot (shot 5 is 83 feet long) they make a striking effect.
The Technique of Film Editing by Karel Reisz