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Abstract only
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
Abstract only
Don Fairservice

point the film is ‘locked-off which means that the final stages – sound editing, music composing and recording, sound mixing, negative cutting and grading of the final print – can proceed unhindered by any further changes. 3 What eventually reaches the screen is usually several steps away from the initial intention and seldom the work of a dominant, single-minded, directorial authority bringing a finely conceived, original

in Film editing: history, theory and practice
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
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
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
Abstract only
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
Andy Birtwistle

blimp. Mechanical sounds produced by the camera are constructed as problematic in filmmaking practices, like those developed by the Hollywood studio system, which prioritise the concepts of flow and continuity. In classical cinema, sounds produced by the camera are prohibited not simply because they signal the means of production, but also because sound edits might be rendered audible by the varying levels and qualities of camera

in Cinesonica
Douglas Morrey and Alison Smith

manipulation of sound editing Rivette can even bring the tones of the Racinian verse spoken onstage directly into connection with Claire, isolated in her flat. Rivette’s 35mm camera, however, while it moves easily around the length, breadth and height of the room, keeps a distance from the performance space, rarely intruding itself into these interactions. In fact it remains self-consciously detached, in a position comparable to

in Jacques Rivette
Open Access (free)
Beyond the burden of the real
Paul Henley

first film, Blunden Harbour (1951) , Gardner used asynchronous drumming and shamanic chanting to suggest transcendent significance. In his later ethnographic films, the sound editing becomes progressively more sophisticated. In Dead Birds , the soundtrack is greatly enriched but largely in a straightforward realist manner. In Rivers of Sand ( 1974 ), however, it begins to take on a more metaphorical function. Early in the film, the sound from a shot of a donkey braying in synch is carried

in Beyond observation
Paul Henley

and the first-hand acting out of key aspects of that life that the film-maker achieves ethnographic understanding. Also important, however, is the principle that this immersion should always involve active collaborative relationships with the subjects. The making of Kalanda was collaborative in a number of different regards. In a precise technical sense, inspired by the example of Steven Feld's ground-breaking work among the Kaluli of Papua New Guinea, Ferrarini used sound editing software in

in Beyond observation