Film and Video Editing by Roger Crittenden

By Roger Crittenden

In keeping with the hugely acclaimed and well-used first version released via Thames and Hudson a decade and a part in the past, this moment variation has been completely up-to-date, revised and prolonged. The aesthetics and strategies of enhancing are tested extensive and illustrated with quite a few examples from prior and current movies and person editors' paintings.

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If we wish to preserve diversity we must protect the indigenous language. If Kieslowski continues to make films they should be in Polish and the Taviani brothers should stick to Italian. Yet the best directors can understand and absorb influences from outside their own culture and still make personal cinema rooted in their own specific background. Bertrand Tavernier, a Frenchman from Lyons, is one such. In films such as Coup de Torchon, Sunday in the Country and La Vie et Rien d’Autre he uses the diverse inspirations of an American pulp novel, a homage to Renoir and a statistic from the First World War to create cinema that is always intelligent and thought-provoking.

If we wish to preserve diversity we must protect the indigenous language. If Kieslowski continues to make films they should be in Polish and the Taviani brothers should stick to Italian. Yet the best directors can understand and absorb influences from outside their own culture and still make personal cinema rooted in their own specific background. Bertrand Tavernier, a Frenchman from Lyons, is one such. In films such as Coup de Torchon, Sunday in the Country and La Vie et Rien d’Autre he uses the diverse inspirations of an American pulp novel, a homage to Renoir and a statistic from the First World War to create cinema that is always intelligent and thought-provoking.

By the time that the audience finds the focus of interest, the value of movement as a bridging device is lost. If we believe that following movement is the least viable motivation for cutting, because it conveys no meaning not already contained in the original shot, then wide screen allows for the possibility of continuing the action within the frame. This is consistent both with Eisenstein’s mise-en-shot principle and with Bazin’s preference for containing all significant elements within the shot.

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