By Ken Dancyger
This ebook presents an outstanding evaluate of the background of enhancing - from its origins to the place we're now. it is usually a considerable cross-section of particular genres: motion, comedy, documentary, and so on. it is real, as different reports have mentioned, that the examples are typically biased towards older motion pictures. i did not have an issue with this for the main half. a lot of those motion pictures are first-class and it makes for the correct excuse for a wet Sunday Netflix fest.
Dancyger's publication can be powerful at the thought of modifying. i did not trust all his propositions, yet they definitely obtained me puzzling over my very own modifying initiatives and the enhancing means of motion pictures i like. the place the ebook falls a section brief is the sensible facet. I wasn't looking forward to a handbook, however the e-book may well use a number of extra genuine lifestyles examples and useful suggestions - particularly within the documentary chapters.
One very last thing: this is not a ebook to be learn by itself. I received the main from Dancyger's examples whilst I watched the flicks he refers to. when you do not borrow, purchase or hire the films and watch the referenced motion pictures you are going to fail to spot a big component.
M. Sean Kaminsky, writer, bare Lens: Video running a blog & Video Journaling to Reclaim the YOU in YouTube
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Additional resources for The Technique of Film and Video Editing, Fourth Edition: History, Theory, and Practice
Many of his later critics in the Soviet Union believed that he was too academic and his respect for ideas would supersede his respect for Soviet realism, that his politics were too aesthetic, and that his aesthetics were too individualistic. 17 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute. 18 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute. 19 Potemkin, 1925. Courtesy Janus Films Company. Still provided by British Film Institute.
In this period, however, there was an attempt to come to grips with the theoretical meaning of sound as well as an attempt to find creative solutions to overcome its technological limitations and to return to a more dynamic style of editing. It is to these early experiments in sound and picture editing that we now turn our attention. h TECHNOLOGICAL LIMITATIONS Although experiments in sound technology had been conducted since 1895, it was primarily in radio and telephone transmission technology that advances were made.
13 Mother, 1926. Still provided by Museum of Modern Art/Film Stills Archives. 14 Mother, 1926. Still provided by Museum of Modern Art/Film Stills Archives. With a background in theatre and design, Eisenstein attempted to trans late the lessons of Griffith and the lessons of Karl Marx into a singular audience experience. Beginning with Strike (1924), Eisenstein attempted to theorize about film editing as a clash of images and ideas. The principle of the dialectic was particularly suitable for subjects related to prerevolu tionary and revolutionary issues and events.