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LOUIS LE PRINCE SEMINARS 2004 Are cuts good for anything more than editing awards? - towards a definition and language of editing in the age of the Steadicam. THELMA SCHOONMAKER Best Film Editing Academy Award 1980 RAGING BULL (Martin Scorsese) DOES EDITING REALLY EXIST?

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slide1

LOUIS LE PRINCE

SEMINARS

2004

Are cuts good for anything more than editing awards?

- towards a definition and language of editing in the age of the Steadicam.

slide2

THELMA SCHOONMAKER

Best Film Editing

Academy Award

1980

RAGING BULL

(Martin Scorsese)

slide3

DOES EDITING

REALLY EXIST?

If so, WHAT IS EDITING?

If a piece editing can be judged ‘best’ or ‘good’, then how should ‘bad editing’ be judged or defined?

(3000 words by next Thursday please, Thelma.)

slide4

EARLY INFLUENCES

E.S. Porter :

Continuity Editing

D.W. Griffiths :

Dramatic Emphasis

V.I. Pudovkin :

Constructive Editing

Lev. Kuleshov :

Experiments in Juxtaposition

Sergei Eisenstein :

Intellectual Montage

slide5

Later Influences…?

Post nouvelle-vague, who are the

heirs to the pioneers of editing?

What places should any of these names

have in the history of the art of editing...

…Scorsese-Schoonmaker …or the cinema of Almodovar, Altman, Coens, Figgis, Kar-Wai,Kieslowski, Kubrick, Luhrmann, Lynch, Marker, Roeg, Tarantino, Von Trier, Woo… …Sokurov…?

slide6

FILM AWARDS & EDITING

ACADEMY AWARDS ‘Oscars’

BAFTAS

FRENCH ‘Cesars’

EUROPEAN FILM AWARDS

CANNES

BERLIN

NEW YORK FILM CRITICS

slide7

WHAT IS EDITING?

UK / USA:

‘cutting’

FRANCE / RUSSIA: ‘montage’

slide8

EDITING:

purpose, aims, impact…

maintain narrative coherence

expose viewpoint

orientate viewer in space (disorientate?)

orientate viewer in time (disorientate?)

maintain action continuity

effect scene transitions

support acting performance

place dramatic impact

support rhythm, pace, mood, atmosphere

connect or separate images

slide9

To what extent is

motion picture editing

predetermined?

by… script

mise-en-scene

framing

camera movement

physical action

acting performance

slide10

EDITING PROCESS

1. Assembly

2. Rough Cut

3. Fine Cut

The editing process might be usefully regarded

as consisting of TWO key concepts :

1. Assembling the main narrative structure.

2. Shaping the precise dramatic relationships

between pictures and sound; people,

objects, places, time.

slide11

OPPOSING TYPES OF CUT

  • CONTINUITY CUT
  • - essentially physical –
  • smooth, fluid, seamless,
  • definitely intended to be INVISIBLE,
  • usually ‘motivated’ by previous shot content
  • DRAMATIC CUT
  • essentially psychological –
  • fracturing, conflicting, disturbing,
  • more likely to be VISIBLE
  • often ‘unmotivated’ by previous shot content
slide12

CUT or MOVE?

positive cuts…

…and negative cuts

Steadicam, Widescreen

& Picture Editing

slide13

Don’t Look Now

Graeme Clifford

&

Nicholas Roeg

1973

slide14

A Week’s Holiday

Armand Psenny

&

Bertrand Tavernier

1980

slide15

EYES WIDE SHUT

Nigel Galt

&

Stanley Kubrick

1999

slide16

The Limey

Sarah Flack

&

Steven Soderberg

1999

slide17

Welcome to Sarajevo

Trevor Waite

&

Michael Winterbottom

1997

slide18

Chungking Express

William Chang, Kit-Wai Kai,

Chi Leung Kwong

&

Wong Kar-Wai

1994

slide19

The Silence of the Lambs

Craig McKay

&

Jonathan Demme

1990

slide20

‘NON-LINEAR EDITING’

    • Digital editing on computer hard disk
    • has reclaimed the creative flexibility of film-editing for all available motion picture formats, at all levels, from
    • Super-8 film to High Definition Video.
    • Is it fundamentally altering the nature
    • of motion picture editing?
slide21

In any hierarchical arrangement of the

creative AV elements in motion picture

production, where is EDITING to be placed?

…in relation to Script, Mise-en-scene,

Cinematography, Sound,

Production Design, etc…

What should editing

awards be given for?

slide22

Should Thelma Schoonmaker

really hand her statuette over

to Martin Scorsese?!?