Unformatted text preview: Film Language II: Editing Editing Determined by Shooting In US cinema, continuity editing becomes norm Continuity Editing = make editing invisible Alternatives to Hollywood's Continuity Editing Soviet Silent Cinema Key Term: Montage
= creative editing Sergei Eisenstein
(1899-1948) QuickTimeTM and a decompressor are needed to see this picture. filmmaker, theorist Japanese calligraphy e.g. Eisenstein's Influence bird + mouth = sing child + mouth = scream Eisenstein's Theory of Dialectical Montage Shot A Shot B Idea C in viewer's mind d. Sergei Eisenstein Kerensky about to take office Note how many times the doors open October (1927) Problems w/ Eisenstein's
Dialectical Montage 1. Misreading 2. Pudovkin's challenge V. I. Pudovkin
(1893-1953) Montage = Linkage Relational Editing Function of Montage
= to link common elements from shot to shot common elements similar to Relational Editing linking continuity editing Legacy Pudovkin's relational montage used extensively Chinatown (1974)
Common: 1. Objects 2. Shape 3. Concept
are needed to see this picture. TIFF (Uncompressed) decompressor QuickTimeTM and a Malcolm X (1992) d. Spike
Lee senstein's Legacy: Repeated actio They Hug 2 times French New Wave
(1959-1969) Young filmmakers' reaction against commercial d. Jean-Luc Godard Note: jump cut = discontinuity edit obvious violation of continuity Breathless (1959) Last Year at Marienbad (1961) d. Alain Resnais Flash cuts = memory (or imagination) New Wave Legacy The New American Cinema (1967-1977)
Bonnie and Clyde to Annie Hall The Graduate (1967)
d. Mike Nichols From Eisenstein --> repeated images From New Wave --> flash frames ...
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This note was uploaded on 04/26/2009 for the course RTF 305 taught by Professor Nasr during the Spring '07 term at University of Texas.
- Spring '07