Techniques Developed in Early Cinema to Edit and Choreograph Unscripted Footage (original) (raw)
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The Palgrave Handbook of the Philosophy of film and motion pictures, 2019
Philosophical discussions of film are divided in their treatment of the subject rhythm in film editing. Analytic philosophers tend to avoid discussion of it, while continental philosophers give it expansive consideration. This chapter aims to bridge these two traditions by analytically articulating what rhythm is, how it is shaped, and what it is for, while still respecting that it is, in both a film editor’s and an audience’s experience, a felt phenomenon. In order to do this, consideration is given both to the first-hand perspective of experienced editors and the articulations of philosophers. This synthesis of practice and theory reveals how an understanding of the editor’s embodied cognitions, affective responses, and expert actions in shaping rhythm can shed light on rhythm’s effect on audiences. The article finds that rhythm in film editing is time, energy, and movement shaped by timing, pacing, and trajectory phrasing for the purpose of creating cycles of tension and release.
Static films and moving pictures: montage in avant-garde photography and film
2011
Photomontage has more to do with film than with any other art form-they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avantgarde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avantgarde artists to break free from traditional concepts of artistic production-they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as "motionless moving pictures"). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology-where the technique and philosophy of montage was key.
The Algorithmic Turn in the Found Footage Filmmaking: The Digital Remake, pp. 132-149
Disegno Journal of Design Culture, 2016
With digital technology arrive new possibilities for close analysis, quotation, juxtaposition and live, or time-based, experiential forms of comparison: The Digital Remake refers to the contemporary practices which are recycling art cinema classics into new media “artifacts” through a process dependent on the new interstice of software, an algorithmically enabled work process, and the availability of the Internet. These works place emphasis on interface rather than physicality, and they play in-between and on constructing systems that handle and reconfigure pre-existing media into new patterns: artists create software that offer themselves and users a form of empowerment and control that creates an entirely different order of interactive narratives than the conventional ones. The following paper will examine Perry Bard’s Man With A Movie Camera: The Global Remake in the perspective of remake culture, participatory authorship, database narrative, and movies driven by a software algorithms to present the many elements through which the development of the avantgarde tactics of appropriation are using the language of new media. Secondly, the new contemporary ontology of analyzing movies as contemporary cultural data will be presented through similar approaches and projects as Lev Manovich is Visualizing Vertov. #remake, #digital remake, #algorithm, #visualization
The Dancing Camera: Towards a theory of musical movement in film practice
This article explores the similarities between narrative film and Western tonal music in terms of form and structure as well as the experiences and affect the two can create through certain techniques. The author uses dance as a bridge between the aural and the visual, as dance is often considered to be the most primary mode of visual expression of music in human cultural history. The main argument is that film can evoke experiences similar to those of music better than dance due to the latter’s limitations set by the human body. A detailed analysis of the three art forms combined with psychological and biological theories about their perception allows for in-depth comparison while selected case studies help to illustrate how musicality of film has been used in practice. The aim of the article is to encourage thinking of film form in alternative ways, from the perspective of a composer.