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Rob Stone

subject to its gaze. If anything, the subtle camera movement and its angles, the teasing and revealing use of framing, the expository but misleading use of deep focus and the artful sound editing adopt the strategy of imitating his purpose but making him victim of it too. Thus, although the film was the target of feminist criticism at the Venice Film Festival, the constantly shifting perspective complicates the accusation of being shot

in Spanish cinema 1973–2010
The politics of performance in the Spanish sophisticated comedy of the 1940s
Stuart Green

styles outlined above. In reference to Su excelencia, el mayordomo/​His Excellency, the Butler (Miguel Iglesias, 1942), he writes that Luis Prendes’ performance is ‘desenvuelta y a tono con el matiz de vodevil que marca la cinta’ [relaxed and in keeping with the spirit of farce that defines the film] (Mas-​Gunidal [1943a]). This attitude is much more patent in the subsequent reviews by Pazos, the majority of which devote greater space to Spanish films and are divided into sections regarding storyline, dialogue, sound, editing, music, cinematography, mise

in Performance and Spanish film
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Catherine Constable

-en-scène, costume, performance, lighting, music, dialogue, sound, editing and cinematography. Indeed, it would seem that the swiftness with which we can grasp the significance of filmic figures leads to an underestimation of the work required to do so, what Robert Stam ably describes as ‘intense perceptual and conceptual labor – the work of iconic designation, visual deciphering, narrative inference and construction – inherent in [viewing] film.’62 It might be argued that the problems of Wartenberg’s model could be solved by replacing his meta-critical vocabulary of

in Adapting philosophy
Roger Singleton-Turner

useful to get an audience to applaud on cue, ideally simply to smooth over sound edits. Here, the FM makes a large clapping gesture above his or her head without actually clapping. This is repeated to keep the applause going or made more vigorous to increase the volume. To stop the applause and make it end naturally, just lower the arms slowly to the side, palms down. Raising the hands palms up is another way of raising the intensity or volume. There are other signals, but, in my experience, they are not in wide use. Ensuring the studio is ready for a rehearsal

in Cue and Cut
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The symbiosis of Joseph Losey and Harold Pinter
Peter Jameson

Barrett’s entrance into the bedroom. The silence persists until Susan leaves the house, experiencing another uncomfortable encounter with Barrett on the way. As he opens the door for her, the children’s laughter starts up again, but now carries a sense of mockery. In Pinter’s direction, Susan leans against a lamp post outside ‘Suddenly looking lost.’ 37 The unorthodox sound edits bring an almost supernatural element to the ‘uneasy silence’ briefly mentioned in Pinter’s script. The choreography of the two characters throughout this sequence and

in British art cinema
Alan Rosenthal

8,000 avid rental and space 18 2,100 37,800 meals and supplies transcripts narration, recording, and edit 600 600 3,000 800 shoot stills 1,000 dubs with time code 3,000 PR fringe: 16% of $30,300 SUBTOTAL 4,848 91,448 51 52 The documentary diaries Days $ Cost $ Total editing 3 1,750 5,250 editor 3 500 1,500 Editing online Paintbox and animation (Chyron) 1,500 sound editing effects 3,000 sound mix (15 hours) 250 D 11 stock for master 3,750 500 title sequence 2,000 music: original or cues 3,000 SUBTOTAL Office and

in The documentary diaries
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Don Fairservice

; post-synchronised sound; the smoothing of sound edits in re-recording; and the augmentation of natural sound with ‘sound effects’. The manifesto required that its signatories should work only in real locations with a hand-held camera shooting in available light. There were other preferred tendencies which involved the use of available props and the absence of set dressing. Films made within the terms of the manifesto would

in Film editing: history, theory and practice
John Izod, Karl Magee, Kathryn Hannan, and Isabelle Gourdin-Sangouard

with an account of the editing process, then in its third iteration. He also relayed discussions between Frears and Grade on the screening order of the six plays. They preferred Saturday-rather than Sunday-night transmission, expecting (backed by LWT’s scheduling experience) stronger viewing figures. Anderson provided Sutcliffe with the schedule of picture cutting and sound editing and hoped the journalist would observe the

in Lindsay Anderson
Tom Whittaker

abruptly cut midway through as two armed policemen force themselves into the room to take Ángel away for questioning. In a final defiance of his virility, Ángel continues to have sex until he orgasms before answering back to one of the police officers, who then hits him with his gun. In coinciding with the eruption of police brutality, the suddenness to the cut of the song – a crude sound editing technique which has been used instead of fading the music out more gradually – points to the violently enforced silencing of the delinquent. In both its presence and then blunt

in The Spanish quinqui film
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David Annwn Jones

Stoker’s Dracula (1992) with its often vertiginous, swirling camerawork was created with a computercontrolled montage editing system; it was one of the first Gothic horror films to be cut and sound-edited on video by computers. Coppola also supplied a montage of visual effects and sly cinematic references: the human arms holding flickering lights in Dracula’s castle are culled from Jean Cocteau’s La

in Gothic effigy