Editing In The Film Dziga Vertov

502 Words2 Pages
bulb-icon

Recommended: Importance of editing in film making

“The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy” Francis Ford Coppola [Hollyn, N. (2008)]. “The whole eloquence of cinema is achieved in the editing room” Orson Welles [Ondaatje, M. (2002)]. However, some film critics disagree. Andrè Bazin believed that other components of cinema created the foundation of film and were in fact more valuable and of more importance. He believed that the visual power of cinema and the interpretation of the story should be left entirely to person watching it, without any influence of editing and only with the guidance of the director personal auteur style. The polish filmmaker Dziga Vertov also believed that editing had no place in cinema. Vertov’s documentary style started a experimental film movement called the ‘Cine-Eyes’ which simply meant that the audiences eyes should be the real camera and their perception of the story should not be manipulated by the editor. Vertov like Bazin, believed that editing should not be tolerated in the art form of cinema. …show more content…

Editing brings the film to life, it gives the camera shots and the acting, motion and emotion. It creates suspense and connects objects and themes through an editors cut. While acknowledging the criticisms of Bazin and Vertov, I intend to explore the accomplishments of editors such as D.W. Griffith, Kuleshov, Pudovkin, and Eisenstein, to demonstrate why editing is essential to a film. I will do this by evaluating the long lasting impact their techniques have had on modern day

Show More
Related

  • O Brother, Where Art Thou, by Ethan and Joel Coen

    1410 Words  | 3 Pages

    The intermix of a great literary work into a modern production is not a new concept, but the use of digital enhancement to carry a theme was unheard of prior to the making of this film. Both Director of Photography Roger Deakens, and Business Development Director Sarah Priestnall from Kodak, helped to explain that the digital process used is the modification of the film at the pixel level, in which the film is digitized frame by frame and each frame is color matched to allow for manipulation. The mastering process was done in the film developing...

    Read More

  • The Use of Classical Hollywood Theory in Die Hard

    574 Words  | 2 Pages

    Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...

    Read More

  • Comparing Mary Anne in Sweetheart of the Song Tra Bong and Kurtz in Apocalypse Now

    2598 Words  | 6 Pages

    Phillips, Gene D. Conrad and Cinema: The Art of Adaptation. New York: Peter Lang Publishing, Inc., 1995.

    Read More

  • Film Contributions of the Sixties

    1654 Words  | 4 Pages

    Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.

    Read More

  • Analysis Of The Film Man With A Movie Camera

    1191 Words  | 3 Pages

    The Bolshevik Revolution was a defining turning point in Russian history. This overall revolution consisted of two individual revolutions in 1917 which resulted in the overthrow of the Tsarist government and the formation of a socialist society led by Vladimir Lenin’s radical Bolsheviks. For a moment with such enormous weight like the Bolshevik Revolution, there will be various interpretations on the true results of that moment and the meaning and value of these results. The film Man with a Movie Camera deals with the results of the Bolshevik Revolution and the early Soviet Society it birthed as it utilizes footage of one day in this early Soviet Union, thus making it worthy of examination. In the film Man With a Movie Camera, Vertov impressively

    Read More

  • Black Swan Analysis

    982 Words  | 2 Pages

    Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...

    Read More

  • Analysis Of Man With A Movie Camera

    1249 Words  | 3 Pages

    With the discovery of techniques such as continuous editing, multiple camera angles, montage editing, and more, silent filmmaking developed from simple minute-long films to some of the most beautiful, awe-inspiring films that have ever been created—in only a few decades. In Visions of Light, someone alluded that if the invention of sound had come along a mere ten years later, visual storytelling would be years ahead of what it is today. This statement rings true. When looking at the immense amount of progress that was made during the silent era of films, one must consider where the art of film has been, where it is, and where it is

    Read More

  • Theory of Montage in Pudovkin’s, Eisenstein’s and Vertov’s movie.

    1016 Words  | 3 Pages

    In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).

    Read More

  • Sergie Eisenstein: Film Analysis

    771 Words  | 2 Pages

    Sergie Eisenstein explored the idea of creating and intellectual cinema in three essays which were composed in 1929: Beyond the Shot, The Dramaturgy of Film Form and The Forth Dimension in Cinema .A central concern in these works is how a series of images can when correctly composed by the filmmaker and then interpreted by the viewer, produce an abstract concept not strictly present in each of the composite images. The following examples of the hieroglyphs are used by Eisenstein to illustrate a process of meaning generation which can be adopted by the cinema in the service of intellectual montage. Eye plus water equals crying, child plus mouth equals screaming, knife plus heart equals anxiety etc.

    Read More

  • The Use of Sound in Coppola’s The Conversation

    2672 Words  | 6 Pages

    Ondaatje, M. (2004). The Conversations: Walter Murch and the Art of Editing Film. New York: Alfred A. Knopf.

    Read More

  • Sound and Editing Analysis

    1023 Words  | 3 Pages

    Berliner, Todd and Cohen, Dale J. "The Illusion of Continuity: Active Perception and the Classical Editing System." Journal of Film and Video 63.1 (2011): 44-63. Project MUSE. Web. 14 Feb. 2011. .

    Read More

  • Edwin S. Porter, D. W. Griffith, and George Melies Film Techniques

    872 Words  | 2 Pages

    The development of editing - Editing - actor, film, voice, cinema, scene, story. 2014. The development of editing - Editing - actor, film, voice, cinema, scene, story. [ONLINE] Available at:http://www.filmreference.com/encyclopedia/Criticism-Ideology/Editing-THE-DEVELOPMENT-OF-EDITING.html#ixzz2sNiIEQqt. [Accessed 10 February 2014].

    Read More

  • David Fincher Analysis

    1235 Words  | 3 Pages

    “Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.

    Read More

  • The Importance of Editing in Films

    890 Words  | 2 Pages

    Film editing by definition is part of the creative postproduction process of filmmaking. In today’s modern world, film has made use of advanced digital technology to help with the editing. The editor or editors are usually given a complete compilation of all the footage. These various separate shots that can be regarded as ‘ raw’ footage. Their task is to create a finished motion picture through combining and selecting shots and putting them into a coherent sequence of events. Whenever we are viewing a film it is extremely difficult to consciously perceive all the editing that has been undertaken. Every single time there is a change from one image to another, this is an edit. For editors, it could be a possible annoyance or perhaps a blessing that critics and the audience never specifically point out the editor’s contribution. However it must be noted that film editors aren’t the only ones that will contribute to a films editing.

    Read More

  • The Process of Film Making

    1075 Words  | 3 Pages

    Offering the unique ability to visually and audibly convey a story, films remain a cornerstone in modern society. Combined with a viewer’s desire to escape the everyday parameters of life, and the excitement of enthralling themselves deep into another world, many people enjoy what films stand to offer. With the rising popularity of films across the world, the amount of film makers increases every day. Many technological innovations mark the advancement of film making, but the essential process remains the same. Pre-production accounts for everything taken place before any shooting occurs, followed by the actual production of the film, post-production will then consist of piecing the film together, and finally the film must reach an audience. Each step of this process contributes to the final product, and does so in a unique right. The process of film making will now start chronologically, stemming from the idea of the story, producing that story into a film, editing that footage together, and finally delivering that story to its viewers.

    Read More

More about Editing In The Film Dziga Vertov

Open Document