Wed, Apr 20, 2011
The shower scene in Hitchcock’s PSYCHO.
Two glamorous bank robbers’ final end in Penn’s BONNIE AND CLYDE.
A runaway baby carriage in Eisenstein’s THE BATTLESHIP POTEMKIN.
The lack of continuity in Godard’s BREATHLESS.
Drop the guns off at Jimmy’s…deliver the goods to Sandy…take care of the babysitter… stir the sauce…while you’re in a coked up, paranoid rush in Scorsese’s GOODFELLAS.
Chances are you first remember these master works of cinema for their film editing.
But how has the mere implementation of the art of editing stirred audiences for generations while proving that the communicative power of cinema’s narrative/character construction lies well beyond just script and performance?
However, do you really know how various editing techniques function both in terms of enhancing narrative design and character delineation? How do specific editing techniques emotionally affect an audience?
-What is the effect of the cross, elliptical or subliminal cut?
-When should you hold a shot for a fuller effect, and what can be ultimately achieved and revealed by doing so?
-What was the original (political) implication of the jump cut before it became standardized?
-What is “thematic montage”?
-What is “dialectical montage"?
-What is “suturing”? Does it improve or destroy meaning?
-Can narrative cinema survive without reverse angles or establishment shots?
-How does an abrupt change in cutting technique to approximate a character's demeanor or the thematic dimensions of a scene enhance a film?
The Horror!! The Horror!! With so many editing designs to choose from, why do most filmmakers settle for the most basic shot construction to tell their stories? Is contemporary cinema doomed to being reduced to just master shot/shot/reverse shot?
Our "In The Cut" seminar re-investigates, reintroduces, re-imagines and clarifies the various implications and possibilities behind the art of editing while once again reminding us that editing itself holds an immense and unique ability to deepen cinema’s communicative powers well beyond film’s often literary constraints.
In this seminar where everything’s “in the cut”, film consultant Thomas Ethan Harris addresses why it is important for new filmmakers to think more deeply and more creatively about the construction of their images and the necessity of creating a more intricate, complex and personally realized cinema. Learning how to effectively embrace and understand the functionality of the primary "visualizing components" of great cinematic construction (such as editing) is critical to establishing yourself in the U.S.'s crowded emerging filmmaker arena.
Film clips will be used to inspire an open dialogue with the audience.