Three questions about the different type of editing - Essay Example

Film Questions Question Louis Bunuel and Salvador Dali present clear and flowing images resulting in successive ideas that are primary to a fundamental condition for any surrealist production. The film falls in the normal categories of films containing static frames powered by fast succession. This defines the fundamental condition of any cinema. The passage of ideas in this film entails the logic applied in it in various extents and not just the mere succession of images. This clarifies the use of space in Un Chien Andalou. The proper use of space by the producers makes the script joyful and easy flowing as result of their collaboration. It presents the enviable capacity for Bunuel and Dali as filmmakers. The power of the ability lies in the relevance of the duo’s opening line applicable in the modern film industry. For instance, ‘Once upon a time’, represents the first line of the script (Davis, 2003). The movement of the story starting with Bunuel puffing a cigarette while sharpening a razor makes a perfect start for the film. Apart from testing the sharpness of the razor by cutting his fingernails, Bunuel engages the women appearing from nowhere by opening her eyes while at the same time a slither covers the image of the full moon. A clear arrangement of images is satisfactory. The producers title the episode eight years later. However, this is where the problem with the flow of images as well as poor use of space in the film starts. Firstly, the title is ambiguous, irrelevant, and paradoxical in nature. Henceforth, the flow of ideas comes as a shocker. The lack of organized flow of ideas and utilization means that analysis of the film can only take different angles. However, somewhere along the way the producers begin creating a flow where shots in the previous acts reappear in subsequent sections. This creates a free association of issues, an aspect of narrative presentations. The continuous screening of bizarre images by Bunuel started with this film. It is clear that the use of images in this film was experimental. Images in the film are bizarre, amazing, and subversive. The film is without a proper plot and only contains a series of images. The author putsto use abstract imagery in an effort to make the viewer less nervous. This kills the role of plot and dialogue (Charmaz, 2000). To improve the relevance of his film, the producer applies dreamlike logic. The concept was popular with the duo’s previous films. Producers use unlimited imagination to direct images in the film. Un Chien Andalou images are crude with little professionalism, but audiences still find them fascinating. People continue to immortalize the eye-slicing image of Un Chien Andalou. The flow of images and use of space interferes with the aspect of sight in the film; watching the images becomes more dreadful for the audience. The production entailed disturbing and strange imagery. It is easy to see the audience shocked and disgusted as they view images landing on their minds with a thud. The daring nature applied in this film continues to remain one of the strongest even when compared to modern films from Hollywood and other production companies. The film deviates from the usual production shots that give characters symbols and impulses. The use of space invokes the power to provoke which makes it unique when it comes to cinematography. In my opinion, the use of space in this film gave room for the producers to present events that occurred between 1967 and 1977. Positives from the image include presenting an idea forethought and applicable in the subsequent generations within the industry. Question 2 Eisenstein Sergei started the Soviet montage and in the process he perfected particular techniques as well as its applications in the creating films. This was long before the Hollywood producers adopted the same technology. First, it came out as a contrast to mainstream system of editing deviating from traditional realistic representations. In turn, the system offers straightforward exposition of ideas. Collectively, Eisenstein and his production team presented editing perspective that communicated meanings through collected images. This was through a juxtaposition of conflicting images. The methods by the pioneer continue to grow including tonal, metric, associated, and rhythmic montages. This is because they rely on emotional appeals such as ethos and logos as they continue to apply aspects of traditional techniques. Metric montages present the most straightforward technique of montages (Barthes, 1972). They share similar technical guidelines with rhythmic montages because of using an edited edition in transiting from one shot to the next. In rhythmic montages, however, the producer chooses images carefully to enhance emotional appeal. The bigger theme comes in tonal montages as much as it applies the same rules like other montages. The theme remains intensely emotional following a precise selection for it to serve the same purpose. Associated montage, also referred to as the over-tonal montage, presents a distorted group of images because the producer mixes many things (Baldasty, 1992). In Charlie Chaplin’s film christened ‘Modern Times’ montage has been deliberately used at the start. What stands out is that the editing involves the use of a rhythmic montage. At the start of the movie, the characters seem to be workers in a production industry. The editing involved hastening the scene by having multiple frames which have been edited and are played in a quick succession. This gives the impression of what the workers were doing but also relays continuity in the first scene although this is achieved faster. Consequently, it makes the activities that happen at the start to be in continuity which is a characteristic of rhythmic montage. However, there is a twist when a fly is introduced by the director. The fly lands on Chaplin’s forehead and he tries to swat it but misses. A person looking like a supervisor comes and hits the fly on Chaplin’s forehead. This is an intellectual montage which seeks to highlight the oppression the workers in the factory face. The director achieves this by comparing their lives to the fly introduced in the scene. Young’s video titled Paper Kite is an example of an editing style known as metric montage. In this case, there are multiple frames of images which show different characters which are played in a quick succession. The images do not have a logical sequence but have been edited in a copy and paste manner. This gives the video a unique appeal to the viewer. Question 3 Idea Associative Editing entails two clips contrasting each other cut together in a manner that results in the development of a new meaning. This takes place through two different perspectives including collision and comparison. The technique puts together two different images to display their similarity. An example, in this case, would be displaying images of a stockbroker on a phone and pairing it with an image of an animal like a lion following its prey. The collision perspective focuses on displaying the different contrasting images of the two things. It could, for instance, be a rich man driving a range rover beside a homeless man travelling in a public means of transport. The intention is to ignite an illicit response from the audience (Ekstrom, 2000). The idea is far from moving the story forward. It does not aim at continuity. The commercial is successful because it interjects a new method where people can view images better. It is an excellent way to separate small sections of a film from the entire presentation in the movie. The commercial effectively applies Idea Associative techniques to become more relevant. It puts together a combination of emotion, energy, as well as elements of story continuity to achieve success. References Baldasty, G. J. (1992). The commercialization of news in the nineteenth century. Madison, Wisconsin: University of Wisconsin Press. Barthes, R. (1972). Mythologies. New York: Hill and Wang. Charmaz, K. (2000). Grounded theory objectivist and constructivist methods. Thousand Oaks, CA: Sage Publications, Inc. Davis, E. (2003). Mile-high news war heats up as KCNC raises its profile. Media Week. 13 (34), 10. Ekstrom, M. (2000). Information, storytelling, and attractions: TV journalism in three modes of communication. Media Culture Society. 22, 465-492. Read More