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Importance of editing in film production
Importance of editing in film production
analysis of movie genres
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“Slacker” (1991) is an independent film by director “Richard Linklater”. It's a character-based
fiction, structured with many individual scenes forming a feature film without an apparent narrative.
The film is portraying bits of everyday life of several eccentric people in Austin, Texas.
The film is built up in a way that every scene presents new characters, and after the scene is over
you will never see the same characters again. The camera floats from scene to scene by following
different characters from one location to another.
Like normal three-act-structure'd films, “Slacker” has no protagonist to lead a plot line. It's
therefore no plot to connect the scenes to each other, creating many individual scenes with their
own mini-narrative.
The scenes are linked together to a full-length film, not by a plot, but by physically travelling with
the camera around the city.
In comparison to normal three-act-structured films, I think there's many similarities and many
differences to “Slacker”
Most of the scenes in “Slacker”, like in normal structure'd films, establishes flaws and inner
conflicts in the characters, but offer no solution or resolution to their problems, but rather drift on to
another place with other characters.
Many of the scenes are built up by very few cuts, or even one-takes. I think this is a way of
enhancing the slow, everyday feeling I think the film is trying to describe.
I often feel like cuts are'nt being used to show new emotions, but often more to drive the film in
other physical directions.
And In regular character-based films, close-ups are used to get the audience involved in what's
going on in the protagonist's head. I can't remember seeing any clos-ups throughout “...
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...film to a single character. He allows the
viewer a brief glimpse into the lives of the individuals before the camera moves onto
a new character therefore it journey onto an unknown path leaving no room for
character development.
I would like to conclude by; comparing Slacker’s narrative structure and my term
film, titled Lone Wolf it is obvious the Director for Lone Wolf approached this project
with the Three – Act Structure writing process.My experimental film revolves
around various character problems followed by different solutions for each of the
three main characters’, thereafter the film ends with the benefits of the eventual
resolve.
Whereas Slacker has no clear narrative structure because the characters’ in the film
never reconnect. Thus making it impossible to create a turning point in the story,
which would have raised the dangers in the plot.
When plays are made into film, or film into plays improvement s are made. Scenes are taken out, added and changed.
Even though this movie is based in real events, but some scene that appear in the film it just give the movie more action and drama. Alan Parker and the writer Chris Gerolmo wanted to the viewers and critics to be able to think and analyze the movie. I think they added other actors to make the movie intense and to add talk about scene. From experience this was an outstanding film.
Incohesive, long, and dialogue-heavy, Inherent Vice has all the potential to flounder. Yet under the steady (or rather, wild) hands of director Paul Thomas Anderson, the film becomes a psychedelic, incredibly enjoyable ride brimming with wit and melancholy. The film follows Larry ‘Doc’ Sportello (played in routinely magnificent fashion by the now ever-reliable Joaquin Phoenix), and his exploits to help his ex-girlfriend, Shasta Fey (Katherine Waterston, also exquisite) investigate a kidnapping of notorious real-estate billionaire Mickey Wolfmann. From there, the plot descends (or ascends, depending on your perspective of the film) into sumptuous lunacy; a mystery involving the coveted and secretive
... reason for this is to demonstrate to the viewer that Morpheus is wise and knowledgeable, whereas Neo is unsure and reliant on Morpheus’ experiences. The long cuts mean that the viewer’s attention is drawn into the dialogue rather than the action (Pearlman, 2009, p. 250).
cinematic elements. Whether it’s the lighting of a scene or the objects placed in the scene, they
Mise-e-scène is one of the most recognizable conventions in filmmaking. It translates literally from the French to “staging” or “to put in the scene” in English. When applied to film studies, mise-en-scène refers to all the visual elements within a particular shot or sequence. Mise-en-scène consists of 5 distinct categories which assist in the development of a film’s visual narrative: Setting and Design, Costume and Make-up, Lighting, Acting and Movement, and Framing. These elements together and separately help to inform the viewer by giving them visual cues as to the nuances of meaning within a film’s structural form. Mise-en-scène may gives the viewer insight into the nature of a film’s characters and their subsequent state of mind, the time and place in which events are occurring, the mood and meaning intended by a particular scene, and also help the viewer to form expectations based upon the filmmaker’s interpretive point of view. In the film, The Eternal Sunshine of the Spotless Mind, Director Michael Gondry utilizes mise-en-scène to denote the complex temporal relationships between his characters, their circumstances, and a fragmented plot structure which progresses through elliptical patterns between memory and reality. In fact, the use of mise-en-scène in Spotless Mind is central to understanding the inner construct of Joel (Jim Carey) and Clementine’s (Kate Winslet) personalities and personal motives, as well as the antagonistic mechanism at play in their relationship.
The use of jump cuts within Breathless and Contempt was an unconventional technique during the French New Wave and still is today because it violates one of the rules of Classic Hollywood Style. Jump cuts create “…discontinuities that the perceptual system will not ignore because the stimuli fall outside of the accommodation ranges for perceptual continuity, then spatial coherence breaks down” (Berliner). Even though jump cuts are not aesthetically pleasing, Godard uses them for the deeper meaning of the films.
One way the filmmakers did this is with the on location shots of rubble in many scenes. The characters in these shots are carefully placed to make the rubble stand out behind them. Lighting is carefully placed to illuminate the rubble and make it stand out. However, the carefully planned cinematography also plays into the overall meaning of the film and not just how it looks. The lighting, for example, influences our feelings for certain characters. Susan Wallner is always filmed in light. This is a drastic difference from how we see Hans Mertens. Hans is usually filmed with low light and is very dim. This helps show that Susan is optimistic, while Hans is pessimistic. Another way lighting is used in this film is to create shadows. Shadows are very prevalent in the last sequence of the film. Hans has confronted Bruckner and as the camera cuts back and forth to each of them we see Hans shadow keeps growing bigger and bigger behind Bruckner. We can interpret that as the shadowing is growing bigger so his Bruckner’s fear, because the dialogue coming from Bruckner is getting faster and we can also hear the fear. There are many times in the film where close ups are used to make the storyline more dramatic. One scene that comes to mind that makes use of quick cuts and close ups is in the end of the film: Susan ran in, stopping Hans from killing Bruckner. At this point we
Due to the film’s quality and interest it became an award winning film. The film had excellent sound effects such as the battle scenes. The image quality was also outstanding; it used many different angles to depict the actor to make you feel involved in the scenes. In the action scenes the most common viewpoint used was a close up shot which allows the audience to see and feel the intensity of the scene. The second viewpoint mostly used was a tracking shot due to the actors c...
...successful collaboration of sound, colour, camera positioning and lighting are instrumental in portraying these themes. The techniques used heighten the suspense, drama and mood of each scene and enhance the film in order to convey to the spectator the intended messages.
It was concluded that in Classical Hollywood Cinema the narrative followed a clear and discernable structure with a distinct beginning, middle and end. Although this type of narrative did have some restrictions it still encompassed the psychology of characters and their objectives, and the inevitable conflict meant to hold the attention of the audience. Continuity editing added to the audiences’ enjoyment of the film and coupled with the attraction of the Hollywood star system they formed a type of cinema that would astonish and capture the rest of the world.
...or visual effects movies. Most of the movies that are released today used this technique only to bring clarity and depth to the film.
...l map of the location in our minds. This suspense continues to build until he meets Pris and she attacks him. The cuts get immediately more frequent and induce a feeling of shock and surprise in the audience.
The concept of “window” is figured into the very form of cinema. Every ‘shot’ is a framed window that hints the vast reality just outside of our view. People viewing this “window” get connected to this reality, experience the happenings, feel the emotions and engrossed into a life whatever they have wished. This is the magic of cinema.
done in order for the movie to fit exactly into place. In the story the little details is what makes it