D.W Griffith is known to Hollywood as the father of modern editing. In 1908 He introduced new innovations such as variation of shots such as the close-up shot, the long shot and the tracking shot and the variations in the pace of the film. While Porter concentrated on making the narrative in his films better through continuity, Griffith learned how to manipulate shots in order to have a bigger dramatic impact. His techniques included scene fragmentation which involves cutting from long shots to full body shots and then maybe to a close up and moving the camera closer to the action so that the audience gets a better feel as to what is happening on screen.
A Soviet filmmaker by the name of Pudovkin was very critical of Griffith and tried to …show more content…
Audience responses to the three sequences suggested a hungry person, a sad husband, and a joyful adult, yet the first shot was always the same” ( Ken Dancyger, The technique of film and video editing, the silent period, chapter 1). This is what I mentioned earlier about the audience being able to draw conclusions about the story.
SERGEI EISENSTEIN was another soviet filmmaker and lived the same time that Pudovkin lived. Eisenstein was the first to theorize film editing as a clash of images and ideas. His theory was called the theory of montages and had 5 components namely metric montage, rhythmic montage, tonal montage, over tonal montage, and intellectual montage.
Metric montages refer to the length of each individual shot. According to Eisenstein shortening the shots, regardless of their content, shortens the time the audience has to absorb the information resulting in high tension
Rhythmic Montages refers to the continuity in each shot. An example of rhythmic montages would be matching action in each …show more content…
Editing for subtext can be a lot harder than editing for the entire concept of the creative work because the editor has to edit the footage in such a way that it is certain that the audience will understand what message the film is trying to bring across. In our term project, Noire, We will be editing for subtext because we do have a message that we are trying to bring across to the audience.
The history of editing is an evolution of discoveries made by the first filmmakers who were also brilliant innovators. They paid attention to problems such as continuity (Edwin S Porter), achieving dramatic emphasis using different shots (D.W Griffith), how to introduce a new idea into a scene and when to introduce it.
In many films close-up shots are used to add more emotion to the scene. Pace is another very important factor when editing. When the editor increases the pace of a film, he heightens the tension, which in turn gets the audience all riled up.
An editor known for subtext editing, Terence Malick In his movie The Thin Red Line,” Instead of tension about who will win the battle, how it will be won,
A Soviet filmmaker by the name of Pudovkin was very critical of Griffith and tried to …show more content…
Audience responses to the three sequences suggested a hungry person, a sad husband, and a joyful adult, yet the first shot was always the same” ( Ken Dancyger, The technique of film and video editing, the silent period, chapter 1). This is what I mentioned earlier about the audience being able to draw conclusions about the story.
SERGEI EISENSTEIN was another soviet filmmaker and lived the same time that Pudovkin lived. Eisenstein was the first to theorize film editing as a clash of images and ideas. His theory was called the theory of montages and had 5 components namely metric montage, rhythmic montage, tonal montage, over tonal montage, and intellectual montage.
Metric montages refer to the length of each individual shot. According to Eisenstein shortening the shots, regardless of their content, shortens the time the audience has to absorb the information resulting in high tension
Rhythmic Montages refers to the continuity in each shot. An example of rhythmic montages would be matching action in each …show more content…
Editing for subtext can be a lot harder than editing for the entire concept of the creative work because the editor has to edit the footage in such a way that it is certain that the audience will understand what message the film is trying to bring across. In our term project, Noire, We will be editing for subtext because we do have a message that we are trying to bring across to the audience.
The history of editing is an evolution of discoveries made by the first filmmakers who were also brilliant innovators. They paid attention to problems such as continuity (Edwin S Porter), achieving dramatic emphasis using different shots (D.W Griffith), how to introduce a new idea into a scene and when to introduce it.
In many films close-up shots are used to add more emotion to the scene. Pace is another very important factor when editing. When the editor increases the pace of a film, he heightens the tension, which in turn gets the audience all riled up.
An editor known for subtext editing, Terence Malick In his movie The Thin Red Line,” Instead of tension about who will win the battle, how it will be won,