minutes of the meeting on 06/11/2006
editing and montage
1929 film directed by a film will not rotate, but "built" because the film only at the cutting table gets its crucial final form. The cutter is part of the creative team at the film work. He determined by the director and producer along the scene selection and is significantly involved in post-production. There are directors who are mainly concerned with setting the scene so that the cutter is mainly responsible for the scene selection. But there are directors who work very closely with the cutter, so like Martin Scorsese.
Most people now use the electronic media, to cut a film. It is turned increasingly digital and cut. With increasing complexity and length of the acts themselves, the filmmakers had to consider how they, the scenes of the type and length designed.
We see films from the context. The sequence of images or scenes from the audience to solve a certain train of thought that emerges strongly from their context. The same picture of a man in connection with different images makes him seem very different to the audience and they interpret the scene differently.
narrative installation: It serves as a means of storytelling. A few scenes are cut in a row (mounted) to support the narrative function.
Film: Seven and Seventy (ca. 1915): There are Other forms of assembly, such as a "thought bubble" that appears next to a person in order to visualize the audience their thoughts.
Expressive mounting (collisions Mount): She is divorced from the narrative function. It will trigger thoughts and feelings in the audience and have a greater effect than a naturalistic scene.
Metaphorical Assembly: A poetic comparison, a metaphor as compared with changing scenes (parallel installation) created. Connections can be made clear. The overthrow of a regime is by example, the toppling of a statue metaphorisch symbolisch ausgedrückt. Dabei sind auch bildkompositorische und rhythmische Strukturen wichtig.
Assoziationsmontage: Durch ähnliche Formen oder Vorgänge werden Funktionen optisch assoziiert bzw. veranschaulicht (z.B. Blinzeln und Jalousien, die alternierend geschlossen und wieder geöffnet werden).
Rhythmische Montage: Sie ist in der Lage eine „visuelle Symphonie“ zu erschaffen. Sie kann einzelne Elemente des Films zusammenfassen. Sie dient zur Abstraktion.
Poetische Montage: Durch weiche Transitions are aesthetic elements are emphasized.
intellectuals Assembly: It tries to abstract concepts in the minds of the audience to trigger, for example, the fading of the terms associated with a man or his activities. Unnaturally long, low-lagged continuation of a scene (eg climbing stairs) is to support this.
A ellipse is the omission of an action part that to understand the story is not essential or redundant. It is complemented by the viewer automatically (for example, in one scene: a man wants to just one Mrs save, this process is however not shown to the conclusion, in the next scene: the man is the woman in bed. The man must have saved the woman that is):> Expansion of the audience -..
The hard cut is the rule. It can also be represented by extreme long dark scenes.
The soft cut, a cut in the motion are (Film: Run Lola Run). The next scene has a similarly rapid movement.
invisible section: The incision is made in the moment in which a person occupies the entire image.
trick Aperture: are in the digital age there are many different cartoon panels, which are used sparingly, the aesthetics of artistic aspect to emphasize a film (eg, the image dissolves pixel by pixel, in lines, on a variety of geometric shapes).
inform the intercut can explain and conceal an omission. A cutaway or Insert inform the viewer can tell a certain story and. Thus, tension through prior knowledge or idea to be established.
Match Cut: Durch Überblendung ähnlicher Objekte in Form und Bewegung kann ein Bezug hergestellt werden (z.B. Odyssee im Weltraum: Der Affe wirft einen Knochen hoch --> Überblendung zur rotierenden Raumstation).
Jump Cut: Durch Auslassung von Szenen soll der Zuschauer verwirrt werden.
In der Montage erkennt man den Stil des Regisseurs. Der Cutter kann den Stil des Regisseurs annehmen. Überblendungen verbinden räumlich und/oder zeitlich auseinander liegende Sequenzen. Die Montage organisiert die Filmzeit und rhythmisiert zugleich den Zeitablauf „die Atmung“ des Films. Das Zeiterlebnis kann durch die Montage auch verändert werden; es sind nicht nur chronologische Abfolgen möglich, sondern es können auch mehrere Szenen gleichzeitig dargestellt werden. Eine Kombination der verschiedenen Montagemethoden kann eine Szene beliebig komplex und konfus wirken lassen.
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