Foundations
in Film editing: history, theory and practice
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.

ACCESS TOKENS

If you have an access token for this content, you can redeem this via the link below:

Redeem token

It is important to start by looking at the very first films that were made, because that's where the story of film editing begins. In many ways it is surprising, given that filmmakers were constructing films of actualities from a variety of viewpoints from quite early on that 'constructed' films remained as one-shot entities for as long as they did. Georges Méliès pioneered the development of trick films. In France, he was also experimenting with multishot films. Méliès's first was L'Affaire Dreyfus made in 1899. Like Attack on a China Mission it was an imagined reconstruction of an actual event, but unlike James Williamson's film it consisted of a series of twelve separate one-shot films detailing separate events of the Dreyfus affair which, when showed together, lasted an unprecedented fifteen minutes.

Metrics

All Time Past Year Past 30 Days
Abstract Views 180 90 3
Full Text Views 46 4 0
PDF Downloads 10 5 0