COMM 231 1st EditionFinal Exam Study Guide Lecture 13 (October 30)“Cinema is sculpting in time”=Tarkovsky“The foundation of film art is editing”-PudovkinWithout editing, what do we get? Hours and hours of interrupted footageex: Monty Python and the Holy Grail, 1975scene: switch from a runner running to the guards and their faces. adds to the humor because there is actually no advancement of the runner between the cutsWhat is the purpose and function of editing?-to cut down action in space/time-create meanings and multiple perspectives-establish rhythm-cover mistakes or conceal stuntsThe editing process:takes: multiple takescircled takes: director will circle the best take, the editor will edit with that onescene: use the takes to create the scene, mix wide, medium, and close up shotsdailies and rough cutswork printanswer printfinal editrelease printTypes of edits: 1. straight cut: no transition, just 2 scenes matched up. transitions film from 1 shot to another2. match cut: no dissolve or transition, cutting on action. action started in one shot, continued from different perspective in other3. jump cut: disruption of time and space, jarring, doesn’t make sense, breaking 180 degree ruleline counts as a jump cut4. fades out and in 5. iris out and in7. dissolve8. wipe9. cut away/insert*you can cross the 180 degree line if it is during a continuous shotTheories of film editing:Kuleshov (Russian, early 20th century)Alfred Hitchcock and “the Kuleshov Effect”A man with an expression on his face interrupted by an image of different things (soup, a baby, a woman undressed) and then back to the man with an expressionBased on the picture in the middle, the interpretation of the man’s expression changes (with soup, he looks hungry; with the girl, he looks lustful)A + B does not equal A & BA + B = C, a third meaningEdwin S Porter (American, late 19th early 20th century)parallel editing, multiple perspectivesThe Life Of A Fireman (1903) different shots, a woman running around in smoke parallel with a firefighter getting readyDW Griffith (American, early 20th)parallel editing, multiple perspectivesThe Birth Of A Nation (1915)Sergei Eisenstein (Russian, 20th century)-montage: Battleship Potemkin, 1925, the Odessa step sequenceThematic montage: Intolerance (Griffith, 1916)2001: A Space Odyssey (Kubrick, 1968)Editing is storytellingPsycho, Alfred Hitchcock 1960picture and sound editing make this scene dramatic and unnervingLecture 14 (November 4) Editing ExamplesNorth By Northwest, Hitchcock 1959Think about how the editing makes this scene intriguing? length of shots, repetition of shots, types of edits, soundThe Graduatedifferent examples of editing, jump cuts, match shotsjump cuts are different places in space and timematch cuts are the same timeLecture 15 (November 6)What are we less tolerant of in movies?Grainy, shaky low light images OR badly recorded sound?We are less tolerant of bad soundElements of film soundA. Three phases of making sound (during production): create, record, mixB. Dubbing (post production): have them re-do lines, or do narration or voice overs, sound effects and music are post production tooRange and Types of Sound in FilmA. Four types of sound: dialogue, effects, music, silenceB. Ambient soundC. Diegetic and Non-diegetic sound (diegetic is sound that the characters and audience can hearand have a logical connection to the world on screen; non diegetic sound is not visible nor implied, is sound coming from source outside the storyD. Automated Dialogue Replacement (ADR, Looping): actors come in to redeliver their linesE. Digital manipulation (like Godzilla’s voice)F. Vocals (record cleanly, not two people talking at once)G. EffectsH. Foley (reassociation of image and sounds and creative use of any sound to match up with what we are seeing on screen, like stepping in snow is made by someone marching on starch)*do Foley for three reasons: convenience, necessity, reasons for moralityI. Transitions (3 kinds) straight, dissolve sound, sound bridgeFurther thoughts on sound aestheticsAtmosphere and mood: Eraserhead (David Lynch, 1977) changes the sound to match the landscapeComplement to visuals: King Kong (Cooper, 1933)Mickey mousing: music in the film is serving as literal accompaniment to what is happening on screenFinal thoughts on sound aestheticsSound can actively shape how we interpret the imageSound can guide us to focus on elements of the imageSound can affect us on its ownSound can clarify events, contradict them, or render them ambiguousLecture 16 (November 11)Music and/in filmConvey meanings (with lyrics, lyrics will be quite literal)Juxtaposition of music and images (images become less ambiguous) often in music videos and commercialsToo Literal? (some people agree, direct our emotions too much)Retain Integrity (music should retain its own integrity, has its own role in film)Descriptive (e.g. mickeymousing, extra-diegetic, which is a musical cue or source that’s coming out of emotion)Collaboration with music composersTranslate source drama into musicContribute musicAfter the fact musicOriginate*some will collaborate throughout the production, some composers will do it all when the film is done*Neil Young, composer of Dead Man, composed all of it after the movie was finishedFunction of musicOverture (meant to situate us)Orientation (tells us the location and class of the film)ForeshadowingInternal States (conveys sense of internal state of character)Music and character John Williams (composer) made Darth Vader’s leitmotif in Star WarsHis leitmotif is not as dark during Darth Vader’s taking off of his mask as it is throughout the movieMusic and dramatic intensityParallel and counterpointclip from The Good, The bad and the uglyintense build upFilm MusicalsRealist (have production numbers that are dramatically plausible)A Star is BornNew York, New YorkMoulin RougeOnceThe Sound Of MusicFormalist (makes no pretense of realism)ChicagoDancer In The DarkAn American In ParisAcross the UniverseMixDreamgirlsSingin’ in the rainRock of AgesMusic and FilmMusical Biographies Musical Documentaries (like Katy Perry’s Part Of Me)Concert moviesFilm OperasAnimated Musicals (Lion King, Aladdin)Films heavily relying on music (School of Rock)Lecture 17 (November 13)Grizzly Man (2005)Werner Herzog-DirectorHenry Kaiser-Music producerRichard Thompson-Composer“In The Edges: The Grizzly Man Session,” a behind the scenes look at producing music for the feature