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Processing attachments - Top-Ranked Writing Service - Greatest Essays (Dissertations) Writing Services

Hannah and her sisters , The empire beats back & other films "> the alchemy of film processing, explores in a new video essay that deals with Hannah collapses and her sisters , the empire beats and other films

Writing, casting, shooting - all important parts of the movie manufacturing process, but the actual production of a movie happens, so they say in the edit room. Although often movie editors themselves, "they" have a point: even Moviegoers who are not familiar with the mechanism mechanics of machining, can feel that something is right, and even more if something feels fails, it must be less with Do the pieces yourself like these parts have been assembled.

"There is a built-in relationship between the story itself, as you tell the story, and the rhythm with which you say it," says the famous editor Walter Murch, known for his work with Francis Ford Coppola on the -Godfather trilogy and apocalypse Well, "and processing is seventy percent to the rhythm." Twenty years ago, in his book in no time , lightweight mour illuminated how an editor works. Well, Cinema Video Essayist Tony Zhou has this mission with a new episode of his series every frame a painting , "how does it feel and feel it?", Do you think? "

Zhou's selected medium ensures him well to address the question as every video essay needs to require at least so much time to think the process as the thinking about the film first. Still asking from a friend, as he knows where he cuts, he can only find this unsatisfactory answer: "How many editors I was based on the instinct." What exactly the instinct of the editor is true, Zhou spends most of this ten-minute essay, which is looking for answers itself, and examines the cuts in pictures like Hannah and their sisters , in the mood for love , the empire beats , tampopo , only angels have wings , pierrot le fou , and All this jazz .

He also turns to the words of editors with decades of experience in the game, including the frequent Spielberg collaborator Michael Kahn, more common Martin Scorsese Collaborator Thelma Schoonmaker, and thus sums himself. But no matter how much wisdom about timing, emotions, tension And rhythm you collect, you have to sit in the editing suite and go alone. "If you see something again and again," says Zhou, "they finally feel the moment they want to cut them." If this appears like an overwhelming task, especially from hundreds of thousands of hours of mental, will work through a editor in a career, keep tilling simple words in mind: "I see the whole movie up there - it does not matter. I do not matter each one , A scene at once. A cut at once. "

Related content:

based in Seoul, Colin Marshall writes and sends to cities, language and style. He is with a book about Los Angeles, a lot Angeles Primer , the video series the city in cinema, the crowdfunded journalism project where is the city of the Future? , and the review of Los Angeles of Books Korea Blog follow him on Twitter on @colinmarshall or on k. k.

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Comments (1)

I have worked for almost twenty years now. It's an interesting piece, but does not really reveal as much as possible. It is always funny and worth it to look at these videos, and that's nice ... (The Star Wars sample and antsjustes next to each other are very good).

Now my experience is unique, and I bring a unique knowledge into the editing bay.I was (and am still) a professional actor, and I spent more than forty years with the editors. I write and directly.

So, here's the opportunity that was missed in this video-essay to tell you something really interesting, something that works by the skills and talents needing other arts and crafts and developing.

revisit the video and watch the part that includes the clips of Hannah and their sisters.Michael Caine talks about these clips, to a class of commercial students (while acting in movie ...) and it is actually a bit distracting , and draws your attention to completely focus on the pictures, and which Tony says about the importance of the eyes in the movie performance. In the clip we see Michael Caine in different moments at a party, not talking, not just looking. In the critical moment for this part of the essay, Caine pushes in a door, and the camera pushes him to him (as Tony's voice is exaggerating) and the publisher (Susan Morse) cuts into Barbara Hershey. But not before? Not before Morse allows an extra to wipe the frame (right to left). Now this is the moment in which Tony does not respond, and you should ask yourself if the "eyes" are the critical part of the performance (debatable) (debatable) the push-on-kaine was already long enough to wipe to cut to hershey. Why did Morse, the extra decided to wipe the frame? Why was Woody agreed with the election? What does the wipe mean that it was required? Was forced to take the wiping because they had the feeling that rhythm demanded the pressure that was kept so long? The shot is staged because all shots are. The push was planned. Extra said to cross it. Was the timing an accident? What does the wipe added?

In terms of the statement about "eyes," eyes in the cinematic film are certainly more important than in the stage, because they can see them in detail. In most clips, including the KaineClips, especially the bedroom, emotion is transmitted by all other subtle details, including facial expressions and head movements that are just as powerful (and maybe more so) in communication. And (and that is not pointed out) by the cut itself.

The argument about the eyes is also a bit interrupted by choosing the example of in the desire for love when two edits of the leaders, Tony Chiu are arranged side by side. The second - the film edit - allows Chiu to fall the head in the end, and the implication is that both the longer bracket and the longer action communicate more emotions. But the actor uses his whole body (or his entire upper body, if they want to jeat) and not just his eyes to communicate. Eyes in the movie, of course, can communicate everything that is necessary if this is the intention. However, they are not necessary to communicate the emotions of a scene.

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