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This article examines the role of the female film editor in the production of German silent cinema, turning to the depiction of editing in a little-known short comedy from 1926, Wenn die Filmkleberin gebummelt hat (When the Film Editor Dawdled, dir. O. F. Mauer), also known as Tragödie einer Uraufführung (Tragedy of a World Premiere). This film, about a distracted editor who mixes revue film and newsreel footage to produce an avant-garde montage film, hands authority over the film to the editor while suggesting that the film she has produced is simply a mistake. Situating the film within discourse on silent-film production practices and Weimar-era montage techniques, the article uses the film as a magnifying glass through which to consider female labor and its relationship to mediation and aesthetic form. It shows how the film offers a remarkable—and relatively early—feminist theory of montage as disruption that hinges on unruly women workers. [ABSTRACT FROM AUTHOR]

Films and texts differ in terms of their possible logical structures and freedom of presentation on an output medium. While texts can be structured at any depth, the capabilities for structuring films are generally limited. In the presentation of textual documents, the sentence order is usually preserved, whereas video documents often allow rearrangements that lead to new alternations of shots. The fundamental difference between textual and video structures is taken as a starting point. Then, based on a detailed analysis of two different layouts of the film The Sunbeam by D. W. Griffith, a formal criterion for distinguishing between internal, discursively motivated and external, diegetically motivated alternations is developed. The results enable a new approach to alternation in film analysis and production. [ABSTRACT FROM AUTHOR]

This article explores the impact of integrating artificial intelligence (AI) into film editing, a field that has gradually adopted semi- and fully automated techniques, marking a turning point in film narrative and montage techniques. The study undertakes a systematic literature review and conducts fifteen semi-structured interviews with professional film editors in Spain to investigate how AI might transform workflows in film editing, in general, and documentary filmmaking, in particular. AI’s potential as a complementary tool in the management and organization of large volumes of material is discussed, while growing interest is highlighted in the development of more interactive, more dynamic interfaces. Finally, the study stresses the need for future research to broaden its current scope, further exploring the practical applications of AI-driven film editing and addressing both the ethical and creative concerns associated with its use. [ABSTRACT FROM AUTHOR]

This interview showcases the experience that Colombian film director and editor Felipe Guerrero had at the Centro Sperimentale di Cinematografia (CSC) in Rome, where he specialized in film editing from 1996 to 1999. Guerrero is widely known for his several film and television productions from all over the world, as well as for his five credits as a film director who has been fundamental to the revitalization of contemporary Colombian and Latin American cinema (from 1999 to the present; he is currently writing his second feature-length fiction film, entitled 1948). In this interview, Felipe Guerrero speaks about the meaningful experience he had at CSC for his career as a filmmaker and underlines how honoured he was to be among the few filmmakers accepted at the CSC during the 1990s. In sum, this interview is a rare and unique insight into the memories from one of the most important contemporary Latin American filmmakers had at CSC. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on methods by which editors shape character in editing. Given that editors' choices of shot, take, and timing augment and vary actors' performances and directors' instructions, and that these choices shape the audience perception of film characters, we ask: what components of editors' expertise are activated in shaping material to create characters that viewers can invest in emotionally? Editors' expertise is generally referred to as 'intuitive', which is a shorthand for knowledge and experience that informs decision making at a pre-conscious level. This article argues that 'intuitive' is not incorrect, however, drawing on the authors' extensive editing practice and building on existing editing theory as well as ideas from science and film studies, we seek more specific identification and articulation of editors' expertise. This article offers an original editing taxonomy in relation to editing character. The taxonomy includes explicit articulations of kinaesthetic empathy and implicit knowledge such as laws of physics, reflex reactions, and cultural conditioning. Awareness of these pervasive but often unrecognised forms of knowledge, we argue, can enhance editors' ability to develop multifaceted characters through editing, clarify discussions between collaborators, and even enhance understanding of the art of editing more generally. [ABSTRACT FROM AUTHOR]

An interview with filmmaker Sam Pollard is presented. He discusses his extensive career as both an editor and director, emphasizing the influence of his upbringing in Harlem and Mississippi on his work. Topics include his transition from editing to directing, his collaborations with renowned directors, and his passion for preserving and celebrating African American history and culture through film.

Virtual Reality (VR) is gaining popularity in recent years due to the commercialization of personal devices. VR is a new and exciting medium to tell stories, however, the development of Cinematic VR (CVR) content is still in an exploratory phase. One of the main reasons is that in this medium the user has now total or partial control of the camera, therefore viewers create their own personal experiences by deciding what to see in every moment, which can potentially hinder the delivery of a pre‐established narrative. In the particular case of transitions from one shot to another (movie cuts), viewers may not be aligned with the main elements of the scene placed by the content creator to convey the story. This can result in viewers missing key elements of the narrative. In this work, we explore recent studies that analyze viewers' behavior during cinematic cuts in VR videos, and we discuss guidelines and methods that can help filmmakers with the decision‐making process when filming and editing their movies. [ABSTRACT FROM AUTHOR]

Copyright of Imagofagia is the property of Imagofagia - AsAECA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article examines the film directing style of filmmaker Fritz Lang, particularly his cinema of interruption, and its relationship to the narrative of modernity by analyzing his 1922 film "Dr Mabuse, der Spieler" (Dr Mabuse, the Gambler). Also cited are Lang's use of parallel editing technique, and why the film can be seen as a modernist cinematic play with space, form, time, and audience expectation.

Virtual reality (VR) filmmaking presents a unique cinematic experience requiring new and innovative ways to conceptualise and practice specific aspects of the production process. This article integrates a range of adapted and modified filmmaking thinking, approaches and components into the cinematic virtual reality (CVR) language and grammar in the two critical areas of cinematography and editing. This focus provides a range of possible strategies and tools for would-be VR film directors to engage more efficiently and effectively in VR film production. The article utilises an extended case study of the VR feature film Calling to present the director/editor's observations and experiences using transmedia journaling and three-dimensional (3D) CVR previsualisation as a simulation tool to create this dynamic, interactive CVR film. [ABSTRACT FROM AUTHOR]

Spectral aesthetics is concerned with the use camera and editing techniques as well as the specialized vocabularies of film productions to create meaning and to arouse the feelings of the audience. These techniques and vocabularies include but are not limited to signs, codes and conventions, camera distance and angles, lighting, sound, graphics and editing. The authors conducted a semiotic analysis on select Nollywood films to see how the elements employed are related to what comes before and after them as in the steps of a plot-syntagmatic relationships and the enduring principles and rules that organise the films - paradigmatic relationships. The key signifiers in each of the select video films were discussed in relation to the signified (what they stand for). The formal arrangement of the thoughts, ideas and emotions of the filmmakers, and how they are able to create latent meaning using certain signifiers of meaning were also revealed. [ABSTRACT FROM AUTHOR]

The article focuses on the transformation of the author's film study approach, shifting from narrative criticism to a formalist one centered on dissecting individual film frames. Topics include the impact of Hannah Frank's book, "Frame by Frame," which advocates for frame-by-frame analysis; emphasizing the hidden labor and materiality within each frame; and how this method enhances the understanding and appreciation of films beyond their motion.

In order to realize the effective cooperation between editor agents in the film and television editing collaboration system, it is analyzed that the state change of the film and television editing and production process is affected by the cross influence of multiple factors. A single agent can no longer satisfy the current film and television production. From the point of view of system theory, this article constructs the learner agent in the film and television editing system by introducing a new cooperation mechanism—the multi-agent collaborative system model. Collaboration and cooperation between multiple agents and the reinforcement learning between multiple editor agents are realized based on the film and television editing system between multiple agents. The operation mechanism of the separate organization is organized together, cooperates with each other and works in harmony to complete the collaborative effect of the film and television editing system, and can improve the interaction efficiency between the editor agents. Agent film and television editing's cooperative learning approach allows for successful collaboration among editor agents. The Bayesian technique is utilized in this study to assess the likelihood of effective cooperation between two agents, and a trust model based on this method is presented, making up for the shortcomings of the existing collaborative learning system. The multi-agent collaboration system will be utilized for production in the film and television editing collaboration system. Many of the movie's scenes and segments are created using computer technology special effects, giving viewers a very unique experience and a feast for the eyes and ears. [ABSTRACT FROM AUTHOR]

"The Art of the Observer: A Personal View of Documentary" by David MacDougall is a book that offers insights into the role of an anthropological director in documentary filmmaking. MacDougall emphasizes the importance of selective observation and the connection between shots in a film. The book also provides a personal account of MacDougall's fifty-year journey as a filmmaker and world traveler. However, some critics argue that MacDougall's perspective may have a colonialist aspect and that his own story restricts his recognition of the significance of his documentary subjects. Overall, the book offers valuable insights into the filmmaking process but may leave readers with feelings of confusion and awkwardness due to unconscious bias in the author's wording. [Extracted from the article]

This article is the result of the reflection of two documentary filmmakers about the production of rushes. From the conception of the image and the preparation of the interviews during the shooting, to the choice of the image and the selection of "ITV" extracts during the editing, the very existence of rushes, their use and their eventual becoming beyond the existence of the film. Through three experiences of directing in Peru, Bolivia and Chile, they tell about their way of producing rushes and their concern to keep them well beyond the final cut. [ABSTRACT FROM AUTHOR]

Filmmakers and editors have empirically developed techniques to ensure the spatiotemporal continuity of a film's narration. In terms of time, editing techniques (e.g., elliptical, overlapping, or cut minimization) allow for the manipulation of the perceived duration of events as they unfold on screen. More specifically, a scene can be edited to be time compressed, expanded, or real-time in terms of its perceived duration. Despite the consistent application of these techniques in filmmaking, their perceptual outcomes have not been experimentally validated. Given that viewing a film is experienced as a precise simulation of the physical world, the use of cinematic material to examine aspects of time perception allows for experimentation with high ecological validity, while filmmakers gain more insight on how empirically developed techniques influence viewers' time percept. Here, we investigated how such time manipulation techniques of an action affect a scene's perceived duration. Specifically, we presented videos depicting different actions (e.g., a woman talking on the phone), edited according to the techniques applied for temporal manipulation and asked participants to make verbal estimations of the presented scenes' perceived durations. Analysis of data revealed that the duration of expanded scenes was significantly overestimated as compared to that of compressed and real-time scenes, as was the duration of real-time scenes as compared to that of compressed scenes. Therefore, our results validate the empirical techniques applied for the modulation of a scene's perceived duration. We also found interactions on time estimates of scene type and editing technique as a function of the characteristics and the action of the scene presented. Thus, these findings add to the discussion that the content and characteristics of a scene, along with the editing technique applied, can also modulate perceived duration. Our findings are discussed by considering current timing frameworks, as well as attentional saliency algorithms measuring the visual saliency of the presented stimuli. [ABSTRACT FROM AUTHOR]

This article groups together a small number of films made at the London Filmmakers' Co-operative in the first half of the 1970s, primarily by film-makers such as Chris Welsby and William Raban, who are more typically discussed in relation to the category of 'landscape films'. The films discussed here explore the restrictive and expansive possibilities of systems, constraints and procedural processes. They often resemble other experimental films that deploy repetition, but they are distinguished by the following feature: the consistent use of predetermined rules and prescripts; in-camera editing that either follows preselected schema and set procedures or breaks from these for specific reasons; and causal mechanisms, often requiring the film-maker to react to events occurring at a specific site. These practices draw from and contribute to a broader interest in systems-oriented and constraint-based processes that also encompass literature and painting. Consequently, this study looks at two collectives, Oulipo and the Systems Group, in order to provide a more period-specific contextualization of this tendency within the Co-op. Linking together much of this work are beliefs and attitudes such as the resistance to romantic notions of creative activity and the view that the artwork's form is more than simply a static construct. [ABSTRACT FROM AUTHOR]

This article looks into Making a Living in the Dry Season, a research film grounded in a long-term stay at a highland agro-pastoralist village in Namibe province, Angola. The film is an intimate portrait of the day-to-day life of a family examining through the practice of doll-making a twofold notion of labour, that is, the labour in crafting and the labour in making a living. I explore insights acquired by the process of making this film and its relation with the end result, discussing the challenges of using filmmaking as a research method, and as an outcome into a film. I look at the knowledge generated in filming, and its subsequent editing and re-editing, paying attention to the role of differing partnerships in the overall production process and in shaping the finished film. [ABSTRACT FROM AUTHOR]

Most of the recent theoretical contributions in film and media studies claim an adequate consideration of sound reproduction in its material features. With the aim of underlining how two distinct conceptions of materiality (concerning the physical composition of reproduced sound itself on the one hand and a material approach to the media for sound recording and sound reproduction on the other) might be mutually intervolved, the first part of the article will point out some significant intersections between the theoretical accounts on mediated sound offered by Rick Altman, Tom Levin and Wolfgang Ernst. Those notions will be subsequently applied to the historical context of the conversion to sound in Italian cinema: in doing so, we will first outline the way in which film theorists rejected both the sonic and technological 'materialisation' of the film-medium and how, by contrast, practitioners dealt with the technological novelties as concrete problems to solve; secondly, by focusing on the film-making practices and the film-editing and projecting techniques we will re-formulate to the notion of noise with the double meaning of 'obtrusive materiality' and 'technological materiality', depending on the different context. In order to verify how new theoretical accounts can serve as epistemological frameworks for our investigation on historical film practices, the essay will discuss the way in which the materiality of mediated sound (as an aural phenomenon to be recorded and a technological inscription to be reproduced) changed the habits and challenged the skills of the workers involved in a film-making process. [ABSTRACT FROM AUTHOR]

Traditional cinematography has relied for over a century on a well-established set of editing rules, called continuity editing, to create a sense of situational continuity. Despite massive changes in visual content across cuts, viewers in general experience no trouble perceiving the discontinuous flow of information as a coherent set of events. However, Virtual Reality (VR) movies are intrinsically different from traditional movies in that the viewer controls the camera orientation at all times. As a consequence, common editing techniques that rely on camera orientations, zooms, etc., cannot be used. In this paper we investigate key relevant questions to understand how well traditional movie editing carries over to VR, such as: Does the perception of continuity hold across edit boundaries? Under which conditions? Does viewers' observational behavior change after the cuts? To do so, we rely on recent cognition studies and the event segmentation theory, which states that our brains segment continuous actions into a series of discrete, meaningful events. We first replicate one of these studies to assess whether the predictions of such theory can be applied to VR. We next gather gaze data from viewers watching VR videos containing different edits with varying parameters, and provide the first systematic analysis of viewers' behavior and the perception of continuity in VR. From this analysis we make a series of relevant findings; for instance, our data suggests that predictions from the cognitive event segmentation theory are useful guides for VR editing; that different types of edits are equally well understood in terms of continuity; and that spatial misalignments between regions of interest at the edit boundaries favor a more exploratory behavior even after viewers have fixated on a new region of interest. In addition, we propose a number of metrics to describe viewers' attentional behavior in VR. We believe the insights derived from our work can be useful as guidelines for VR content creation. [ABSTRACT FROM AUTHOR]

This article aims to trace and articulate the extremely rich production and postproduction history of the early Soviet classic, Sergei Eisenstein's Bronenosets Potemkin(The Battleship Potemkin, 1925). By engaging Paolo Cherchi Usai's idea that early films exist as multiple objects, the paper explicates how Eisenstein's film was re-edited in three of its most important versions: the original 1925 cut; the first international cut, produced in 1926; and the 1950 cut. By elucidating the distinctive sociopolitical conditions that crucially informed all three cuts of the film, the article interprets and compares the visual transformation of Potemkinin accordance with editorial and re-editorial alterations, identifying a nexus of contributing factors that regulate the economy of the visible in Eisenstein's film. I argue that the junction at which authoritative social impulses are negotiated with Eisenstein's individual vision takes us to what might be one of the critical moments in Eisenstein's early career in which his early, avant-garde-informed approach to filmmaking is recalibrated with the rules of dramaturgy of film form. [ABSTRACT FROM AUTHOR]

The article explores on the innovations of silent-film language for the reproduction of photographed theatre. Topics discussed include the gap between the verbal and pictorial representation of photographed theatre, the introduction of sound technology for cinema and the integration of music, editing and narrative development in cinema.

The article focuses on the use of editing as a stage in film production. Topics discussed include the editing process used Esfir Shub, director of film company Goskino, in the 1925 film "Strike!" in collaboration with firm editor Sergei Eisenstein, the editing of the film "Rose Hobart" by artist Joseph Cornell which has been exhibited at an art gallery in New York in 1936, and the role of editing in people's engagement with audio-visual culture.

The article analyzes the 1914 silent stop-motion animated film "Die ideale Filmerzeugung" on cinematography, editing, and handling of motion picture stock. The idealized workflow shown in the film is criticized as unrealistic, the role of senses in motion picture workers and audiences is described, and information is offered on the importancxe of amnual labor in the production of early films. The lack of the depiction of projection in the film is criticized along with the film's alleged minimization of the human factor in film production.

Eyes and eye lines are one of the key ways in which the perspective on a story is established in figurative narrative fiction cinema. As such, the eyes and the use of eyes by a performer need as much creative and technical attention as shot composition, sound, production design and editing. Rather than thinking of the eyes of a performer as a subservient aspect of a projected performance, often driven by the dominance of dialogue-action delivery, this paper seeks to examine how, in fictional cinematic expression, eyes can be deployed to enhance an introspective and transcendent narrative perspective on a story. This exploration takes place through practice. In particular, during the creation of my latest feature film, The Raven on the Jetty (Erik Knudsen, UK, 2014), in which I sought to explore how to enhance the relationship between eyes, eye lines and narrative perspective on story. In reflecting on these issues, I shall look at what is meant by narrative perspective and relate this not only to the performativity of a fiction film, but also to the relationship of this performativity to emotions and feelings. I shall then look at eyes: first looking at their behavioural importance, then at looking and seeing. I hope to show that we can think of eyes not merely as a part of an actor's performance, but also as a window through which we can see a world whose presence is untouchable. I aim to argue that looks and eye lines are as effective as any other cinematic tool in establishing actions, re-actions, space, time, intentions and revelations and to illustrate how I have sought to challenge certain understandings and approaches to the use of eyes to add a different perspective on a story. [ABSTRACT FROM AUTHOR]

The fulldome immersive film format is chiefly about space. Immersive film production is currently undergoing stages of development towards a modern, cinematic language comparable to the development of rhythmic montage developed by Eisenstein and Soviet cinema and followed by the avant-garde cinema of the 1920s. This paper explores the reciprocal interaction of cinematic montage with the fulldome format. In fulldome films, the metric aspect of rhythmic montage can be evoked through the translational time of the eye across the hemispherical screen. Immersion affords the extension of the internal logic of the film into the architectural space of the theatre. This external architecture becomes an organizing element in the compositional flow of the film, giving the viewer room to build their own field of associations to create meaning. This article questions what new cinematic language can emerge specific to a nascent avant-garde/experimental fulldome cinema, examining the potential of structural montage and collage techniques to create rhythm by combining spatial with chronological sequencing. [ABSTRACT FROM AUTHOR]

The paper applies Lacanian psychoanalysis to a well-known phenomenon in documentary practice, namely, that those who appear in films usually violently dislike their representation in the final film. Broadcasting organizations have sets of rules and regulations to deal with this ‘inconvenience’. I put forward a suggestion that the source of this anxiety lies in the notion of the double, which draws from Freud's ‘The Uncanny’ (1910) as recently developed by philosopher Mladen Dolar. I apply it to the process of documentary filmmaking. I give an example of the documentaryThe Best Job in the World(2009), which I directed for BBC1. In it, the participants were first invited to create their own short digital self-portraits with the material shot by us and edited later. I quote from their reports submitted in due course about their feelings about their portrayal in the film. The issue of control over one's representation seems of crucial importance. It appears that the arrival of ‘the double’, which the contributors had no control over created a sense of deep discomfort, even when that ‘double’ appeared more flattering that the contributors' perceptions of their own selves, suggesting more complicated unconscious processes. [ABSTRACT FROM AUTHOR]

Narrative has lead filmmaking since the first film was made until now. Digital technologies have become increasingly involved in filmmaking but without changing the single plot storytelling model of a filmmaking. The study proposed an intercut design using Multimedia technology to film editing providing multiple and variety plots in one film. The audiences can experience different plot to the film in every watch. The design concept and process are provided. Future development and recommendation are listed for widen the research area. [ABSTRACT FROM AUTHOR]

This article examines the ways in whichTen Canoes (de Heer and Djiggir, 2006) works as what Nicholas Rothwell has called ‘an inter-cultural membrane’. The article scrutinizes the rhetoric developed around the film, exploring questions around ownership, cultural mediation and the authorial voice. An extended interview with the co-director, Rolf de Heer, examines the production process to explore the structuring of the film through script, shooting and editing and the double process of pragmatics and aesthetics that drove the production process. The article proposes reframing the question of authenticity as fidelity to the complexities of the present, rather than fidelity to the past. It argues that an attempt to fully understand and articulate the complex dimensions of cultural exchange, collaboration and cultural translation, and the complex intermeshing of hybrid cultural and aesthetic notions, would produce a more productive and dynamic debate around the interface of cultural exchange than currently emerges from the rhetoric around the film. The article argues for an engaged and dialogic approach to film criticism, grounded in cultural research, in which the conceptual paradigms and speaking positions of the critic are equally opened to scrutiny. [ABSTRACT FROM PUBLISHER]

This essay offers a theoretical approach to reading the relationship between narrative, image and temporality in Carlos Saura's intensely philosophical yet understudied film Elisa, vida mía (1977). Through close readings, I analyse how the film creates a series of openings or spaces from which to reflect on cinematic time as a reciprocal process of folding and unfolding, entangled with cycles of arrivals and departures, experience and perception, memories and dreams, and illuminance and violence. I also explore the visualization of loss as an essential aspect of Saura's cinematic construction of subjectivity and spectatorship. Ultimately, this article argues that in Elisa, Saura breaks with a system of suture to establish a cinema of loss or 'cinema of wounds' that not only depicts loss as a narrative element, but also integrates a structure of loss into the film's temporal and visual composition. This loss constitutes a vital form of possibility when it, in turn, becomes part of the spectator's viewing experience. [ABSTRACT FROM AUTHOR]

This article suggests that film can evoke hidden dimensions of ethnographic reality, not by striving for ever more realistic depictions—a position often associated with observational cinema—but rather by exploiting the artificial means through which human vision can be transcended. Achieved particularly through the use of montage, such disruptions can multiply the perspectives from which filmic subject matter is perceived, thus conveying its invisible and irreducible otherness. This, however, is an argument not to dismiss the realism of much ethnographic filmmaking, but rather to demonstrate how montage can and must be used to break with the mimetic dogma of the "humanized" camera. The effective image, we argue, depends crucially on maintaining a tension between a strong sense of reality and its occasional, and therefore only then effective, disruption through montage. [ABSTRACT FROM AUTHOR]

An interview with filmmaker Danny Perez is presented. When asked about his motivations in creating the film "ODDSAC," he says that patience is important to be able to come up with good things and accomplish the project. He mentions that final cut and after effects were used to enhance the digital quality of the film. He adds that film shooting and editing are two challenging process of filmmaking.

William Walton's manuscripts are generally well-preserved and well-documented. Autograph material survives for half of his fourteen feature film projects. These sources offer a rare glimpse behind the scenes into the production of mid-century British cinema—in particular allowing a more nuanced understanding of the film editing decisions made by Walton's great collaborator Laurence Olivier, and the post-production role of conductor Muir Mathieson. Sketches reveal Walton's early attempts to synchronize his music to action on screen, and later giving up this technique. Most surprisingly, the autographs reveal that the recent DVD release of Battle of Britain which purportedly restores the discarded Walton score (actually written jointly with Malcolm Arnold) misplaces every cue. [ABSTRACT FROM AUTHOR]

The article discusses the use of theatrical form and content within a film in Brechtian cinema. It states that Brechtian cinema increased the abandonment of privileged technique of montage as a source of estrangement in favor of the theatricality It tackles on the application of montage in the film "Kuhle Wampe" which consists of three episodes, separated by montage sequences that show images of apartment buildings and natural landscapes.