Relevant bibliographies by topics / Film editing and authorship

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Film editing and authorship'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Film editing and authorship"

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Winters, Ben. "Catching Dreams: Editing Film Scores for Publication." Journal of the Royal Musical Association 132, no. 1 (2007): 115–40. http://dx.doi.org/10.1093/jrma/fkm001.

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There is a need for published film-score editions in film musicology, both to preserve the contents of manuscripts and to aid critical readings of films. How to accomplish this, without re-inscribing the Romantic conceptions of authorship commonly associated with edition creation, is the subject of this article. After considering the relevant editorial problems and models, a postmodern ‘anti-edition’ is proposed, using examples drawn from Korngold's score for The Adventures of Robin Hood (1938).
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Murray, Virginia S. "Collaborative Authorship in Film Production : Walter Murch and Film Editing: Walter Murch and Film Editing." International Journal of New Media, Technology and the Arts 8, no. 2 (2014): 9–19. http://dx.doi.org/10.18848/2326-9987/cgp/v08i02/36320.

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Platte, Nathan. "Music for Spellbound (1945): A Contested Collaboration." Journal of Musicology 28, no. 4 (2011): 418–63. http://dx.doi.org/10.1525/jm.2011.28.4.418.

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Production files detailing the construction of the musical score for the film Spellbound reveal an intense and complicated collaboration involving music editor Audray Granville, director Alfred Hitchcock, composer Miklós Rózsa, and producer David O. Selznick. Tracing the formation of the score from initial outlines through composition and editing shows how these four individuals contributed to the score’s development. Conflicting instructions from Hitchcock and Selznick as well as Granville’s preview score influenced Rózsa’s compositional decisions, and Granville’s revisions of Rózsa’s recorded music affected the content of the score. The music of Spellbound does not represent a single or even shared vision, but rather an intricate conglomeration of ideas, revisions, and interpolations. Illuminating these layers of discourse enriches musico-cinematic analysis by challenging conventional notions of authorship and artistic control in the Hollywood film score.
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Clay, Elonda. "These Gods Got Swagger." Bulletin for the Study of Religion 40, no. 3 (September 22, 2011): 4–9. http://dx.doi.org/10.1558/bsor.v40i3.002.

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This paper expands the topography of contexts in which research on hip hop and religion takes place by investigating the ways in which video game engines and video editing software are used by game players to produce films within virtual environments. My investigation highlights the online dramatic form of "machinima" (machine-cinema) - a creative, often unintended user adaptation of video game engines and movie-making software. I argue that ‘swagger’, a collective of black cultural expressions that signify confidence, success, rhythmic body movements, and highly stylized appearance, is reconfigured by gamers for virtual environments, resulting in the creation of highly stylized virtual worlds, the modding (modifying) of simulated characters, and the re-composing of the game’s narrative architecture into player-created storylines. In this regard, this article proposes that digital performances and emergent authorship have multiple implications for the study of African American religions.
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Colta, Alexandra. "Creative and emotional labour." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 128–45. http://dx.doi.org/10.33178/alpha.17.08.

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Film festival curation and programming remain highly individualistic practices, that negotiate several discourses/tensions, including the responsibility of the curator to others (artists and audiences) and the creative independence of the curator. Much remains to be written about the creative process of curation, and how aesthetic judgements are articulated by those who practice it. While progress in this direction has been made in relation to some festivals (LGBT, African), human rights film festivals have only recently started to be part of academic scholarship, which tended to focus on the main functions and spectatorship roles that they encourage (Tascón; Tascón and Wils; Davies). This article focuses on the creative process of programming human rights film festivals using the case study of Document Human Rights Film Festival in Glasgow. Part of a practice-led collaborative research project between the Universities of Glasgow, St Andrews and the festival, this article is based on my reflections and experience as a co-opted member of the programming team for the 2016 and 2017 editions. Drawing on practice-led ethnography, I argue that this festival adopted a form of ethical programming, sharing authorship and responsibility towards the audience, the filmmakers and the profession, as well as a form of emotional labour.
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Karaś, Krzysztof. "Revising canons of writing skills development in the academic setting: Towards a synergy of teacher and student creative effort." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 16/1 (May 6, 2019): 167–97. http://dx.doi.org/10.26881/bp.2019.1.08.

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It is stipulated that the model of writing typically implemented in the academic context, with its traditional delineation of the respective roles of teacher as expert and student as imitator, demonstrates considerable limitations. Advocated in the article is its replacement through a paradigm of instruction which shifts its emphasis from the presentation of writing forms, genres and conventions of writing, and the evaluation of students’ texts with reference to the input models, to the teacher’s assistance, mediation and co-authorship in the students’ writing process. In this model, the aims of instruction go beyond the solitary pursuit of academic excellence to tap into learner creativity in a dynamic interactive classwork environment which acts as a stimulus to their individual composing and editing endeavours. Two pedagogic instruments underpin the model: the first is the student-executed Portfolio, comprising records of writing in the form of drafts and re-drafts, and the teacher’s interventions in and feedback on them; the second - the teacher-developed Class File, chronicling significant classroom activities and students’ written or spoken contributions, made available to the students after the lessons and serving as a link between the texts which have been generated and those which are still in the making.
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Paul, Padma Polash, Madeena Sultana, Sorin Adam Matei, and Marina Gavrilova. "Authorship disambiguation in a collaborative editing environment." Computers & Security 77 (August 2018): 675–93. http://dx.doi.org/10.1016/j.cose.2018.01.010.

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Gurney, David. "Film and Authorship (review)." Velvet Light Trap 57, no. 1 (2006): 101–4. http://dx.doi.org/10.1353/vlt.2006.0016.

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SELLORS, C. PAUL. "Collective Authorship in Film." Journal of Aesthetics and Art Criticism 65, no. 3 (June 2007): 263–71. http://dx.doi.org/10.1111/j.1540-594x.2007.00257.x.

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Zhou, Liping, Wei-Bang Chen, and Chengcui Zhang. "Authorship Detection and Encoding for eBay Images." International Journal of Multimedia Data Engineering and Management 2, no. 1 (January 2011): 22–37. http://dx.doi.org/10.4018/jmdem.2011010102.

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This paper describes a framework to detect authorship of eBay images. It contains three modules: editing style summarization, classification and multi-account linking detection. For editing style summarization, three approaches, namely the edge-based approach, the color-based approach, and the color probability approach, are proposed to encode the common patterns inside a group of images with similar editing styles into common edge or color models. Prior to the summarization step, an edge-based clustering algorithm is developed. Corresponding to the three summarization approaches, three classification methods are developed accordingly to predict the authorship of an unlabeled test image. For multi-account linking detection, to detect the hidden owner behind multiple eBay seller accounts, two methods to measure the similarity between seller accounts based on similar models are presented.
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Dissertations / Theses on the topic "Film editing and authorship"

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Marti, Cécile Marie. "Shakespeare on film : film editing and authorship : 'It is only in the editing room that the director has the power of a true artist'." Thesis, University of Sheffield, 2006. http://etheses.whiterose.ac.uk/14705/.

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The purpose of the thesis is to question the hegemony of auteurist, director-based criticisms of Shakespearean films by rescuing the film-editor from anonymity. By drawing my attention to the determining, yet largely disregarded work of editorial creation, I offer a reading of a selection of Shakespearean films that acknowledges the centrality of collaborative work in representing Shakespeare on film. In order to recreate the editor as a 'collaborative auteur', I propose to trace the authorial signature(s) of the editore(s) by examining and identifying in which ways and according to which specific patterns the Shakespearean pre-texts are transformed into 'Shakespearean' film texts.
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McMillan, Matthew Christopher. "Editing the independent, digital feature film, mosaic." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16558/.

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The production of the independent, digital feature film titled Mosaic was performed on a very low budget. The design and implementation of the post-production of the film required consideration of budgetary constraints, and solutions to these constraints that would still allow the creative freedom of the editor and the director. The technical design was based around digital filmmaking technology. The choice of this technology influenced how the editor was able to address aesthetic and technical challenges.
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Su, Xin. "Ideas of film authorship : a study of theories and concepts of agency and subjectivity in film authorship, with a conclusion on the possible configuration of a future theoretical model of feminist film authorship." HKBU Institutional Repository, 2010. https://repository.hkbu.edu.hk/etd_ra/1101.

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Smith, Tim J. "An attentional theory of continuity editing." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1076.

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The intention of most film editing is to create the impression of continuous action (“continuity”) by presenting discontinuous visual information. The techniques used to achieve this, the continuity editing rules, are well established yet there exists no understanding of their cognitive foundations. This thesis attempts to correct this oversight by proposing that “continuity” is actually what perceptual and developmental psychologists refer to as existence constancy (Michotte, 1955): “the experience that objects persist through space and time despite the fact that their presence in the visual field may be discontinuous” (Butterworth, 1991). The main conclusion of this thesis is that continuity editing ensures existence constancy by creating conditions under which a) the visual disruption created by the cut does not capture attention, b) existence constancy is assumed, and c) expectations associated with existence constancy are accommodated after the cut. Continuity editing rules are shown to identify natural periods of attention withdrawal that can be used to hide cuts. A reaction time study shows that one such period, a saccadic eye movement, occurs when an object is occluded by the screen edge. This occlusion has the potential to create existence constancy across the cut. After the cut, the object only has to appear when and where it is expected for it to be perceived as continuing to exist. This spatiotemporal information is stored in a visual index (Pylyshyn, 1989). Changes to the object’s features (stored in an object file; Kahneman, Treisman, & Gibbs, 1992), such as those caused by the cut, will go unnoticed. A duration estimation study shows that these spatiotemporal expectations distort due to the attention withdrawal. Continuity editing rules show evidence of accommodating these distortions to create perceived continuity from discontinuous visual information. The outcome of this thesis is a scientific understanding of filmic continuity. This permits filmmakers greater awareness of the perceptual consequences of their editing decisions. It also informs cognitive scientists of the potential of film as an analogue for real-world perception that exposes the assumptions, limitations, and constraints imposed upon our perception of reality.
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Hager, Steven Christopher. "An Incompatibility between Intentionalism and Multiple Authorship in Film." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/philosophy_theses/57.

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The multiple authorship view for film is the claim that multiple authors exist for almost any given film. This view is a recent development in opposition to the longstanding single authorship view which holds that there is only one author for every film, usually the director. One of the most often-cited reasons in support of the multiple authorship claim is that multiple authorship views more successfully explain the following fact about filmmaking better than single authorship views: filmmakers’ intentions sometimes conflict with each other during the production of a film. However, since multiple authorship views cannot adequately explain how a single filmic utterance can result from conflicting intentions, I want to argue that the single authorship view should be reinstated in those special cases where two or more agents are involved in the production of a filmic utterance and where the intentions of those agents are incompatible.
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Houseton, Fran. "Saved By the Edit." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/505.

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Marshall, Matt, and n/a. "GHOST STORIES WITHOUT GHOSTS: A STUDY OF AUTHORSHIP IN THE FILM SCRIPT ?THE SEABORNE?" University of Canberra. n/a, 2008. http://erl.canberra.edu.au./public/adt-AUC20090106.150522.

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In 'The Crypt, the Haunted House of Cinema', Cholodenko argues that film is, metaphorically speaking, a haunted house: an instance of the uncanny. This raises the possibility the film script is also uncanny, from the Freudian notion of das Unheimliche, the strangely familiar and familiarly strange - and thus also a haunted house. This proposition engenders a search as self-reflexive practice for that which haunts the script' an uncanny process to explore the uncanny. The search requires drawing on Barthes, acting 'as dead' with that process' attendant contradictions and problematics' the most likely ghost in the script being the writing self. Establishing the characteristics of the writing self involves distinguishing that figure from the author. This requires outlining the development of theories of the author from the concept of authorial will, as per the argument of Hirsch, to the abnegation of the author as a philosophical certainty. Barthes and Foucault call this abnegation the death of the author. Rather than that marking the end of a particular branch of analysis, the death of the author can be considered an opening to the writing practice. From this perspective, the death of the author becomes a strategy in Foucault's game of writing, effecting the obfuscation of the writing self, by placing a figure as dead, the author figure, within the metaphorical topography of the text. Indeed, the author as dead is akin to a character in the narrative but at a substratum level of the text. What places this dead figure within the text is an uncanny writing self, a figure of transgression, brought into being in the experience of Blanchot's essential solitude. 'The Seaborne' written by Matt Marshall, provides an example of a film script that constitutes a haunted house, a site of the uncanny. In terms of the generic characteristics of the film script as text type, its relative unimportance in relation to any subsequent film based on the script becomes of itself a feature of the film script. This makes the film script a site of negotiation and contestation between the implied author as hidden director on the one hand and the implied reader as implied director on the other. This confirms the film script as, using Sternberg's terminology, a blueprint text type. Examples of the negotiation and relationship between hidden director and implied director are found in analysis of 'The Seaborne' as are the tensions in the relationship between the individualistic impulses of the hidden director and the mechanistic, formal requirements of the text type as blueprint. These tensions are ameliorated by the hidden director who is then effaced within the constructed layers of the film script text to allow interpretive space for the implied director. 'The Seaborne' as representative of the film script text becomes the after-image of a written text and the foreshadowing of a future filmic one. It therefore never finds completion within its own construction process and its formation begins in templates that accord with the Bakhtin's description of the epic, as is shown by comparing the construction notes for 'The Seaborne' with Aristotlean dramatic requirements. But at the same time there is present in 'The Seaborne' a Bakhtinian dialogism that points towards the individual markers of a writing self. This writing self, referring to Kristeva, is a figure of abjection. It transgresses itself and transgresses its own transgressions. It is a ghost in a ghost story without ghosts.
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Spicer, Paul. "The films of Kenji Mizoguchi : authorship and vernacular style." Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/the-films-of-kenji-mizoguchi(8f7ad266-b2bd-4199-acbd-cba4263b6c89).html.

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This thesis explores the work of Japanese film-maker Mizoguchi Kenji (1898-1956) through an analysis of key film texts in their social, cultural and industrial contexts. Since coming to international prominence in the 1950s, Mizoguchi has been placed in western accounts of Japanese cinema, alongside Kurosawa and Ozu, as one of that country’s most celebrated auteurs. As we shall see, this positioning has tended to cast Mizoguchi in a certain critical light which has subsequently been challenged from different perspectives. Mizoguchi’s film career, which began in 1923, spanned the silent era and sound films, continued under Imperialist rule (1930-1945) and the American occupation (1945-1952), but gained world attention only in the last four years of his life. His life and films have since been the subject of academic studies, festival retrospectives and television documentaries, both in Japan and in the west (notably the United States). He is acclaimed, like Federico Fellini, Satyajit Ray and Ingmar Bergman, as one of the handful of film-makers who have had a profound influence upon world cinema, although in the west his reputation has remained under the shadow of his better-known countrymen Kurosawa and Ozu. This study will seek to critique rather than celebrate that legacy. But Mizoguchi’s career as a whole also has much to tell us about the history of Japanese cinema and its relationship to culture and society. And in re-focussing critical attention upon the context which informed his work, this thesis will offer a re-appraisal of his auteurist status, and suggest new ways of considering the issue of authorship.
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Pelling, Kate. "Select, reject, reconfigure : editing speech in artists' direct address to camera." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/10825/.

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This practice-based thesis offers a new approach to editing processes that take place during the recording and subsequent editing of an individual speaking directly to a camera. Rosalind Krauss identified all performance to camera as narcissistic (1976), which includes the subset of artists’ direct address to camera, and since then the area has been widely understood within a psychoanalytical framework. This new approach provides a non-psychoanalytical perspective on direct address to camera, taking into account linguistic self-editing during the generation of speech (Skinner, 1957, p. 370) and technological editing processes once the speech has been recorded. While ‘artists’ film and video is a distinct form of cultural practice with its own autonomy’ in relation to mainstream film (Rees, 1999, p. vii), editing practices within the field of artists’ direct address to camera show no such independence and widely adopt techniques and terminology from the mainstream canon. I consider ways that the language and practice of editing can be expanded beyond the mainstream, and I introduce a transdisciplinary approach to the editing of speech, which is between, across and ‘beyond all disciplines’ (Nicolescu, 2008, p. 2). My practice plays a major role in developing a context for this enquiry. I use the video process, artist’s books, transcription, drawing and text to add to the existing vocabulary of mainstream editing. I create a new technique called blindediting, which involves cutting out video material without looking at it. Finally, I discuss my publication A Relational [Video] Grammar: Extrapolation (2013) which illustrates my transdisciplinary approach and explores the new language that I have developed for editing speech. My research provides a new perspective on the editing of speech in artists’ direct address to camera and suggests that a transdisciplinary understanding of editing practices can shed light on existing works within artists’ film and video.
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Powers, Michael A. "Double Visions--Separating Gordon Lish's Edits from Raymond Carver's Original Authorship in Three Stories." Thesis, Connect to resource online, 2008. http://hdl.handle.net/1805/1856.

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Thesis (M.A.)--Indiana University, 2008.
Title from screen (viewed on August 28, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Robert Rebein. Includes vita. Includes bibliographical references (leaves 84-85).
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Books on the topic "Film editing and authorship"

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Dmytryk, Edward. On Film Editing. New York : Routledge, Taylor & Francis Group, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9780429506086.

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Maitland, Ian. Maitland's film editing glossary. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1990.

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Balmuth, Bernard. Introduction to film editing. Boston: Focal Press, 1989.

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Balmuth, Bernard A. Introduction to film editing. Boston, Mass: Focal, 1989.

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Nonlinear editing basics: Electronic film and video editing. Boston: Focal Press, 1998.

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Gavin, Millar, ed. The technique of film editing. 2nd ed. Amsterdam: Focal Press/Elsevier, 2010.

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Gavin, Millar, ed. The technique of film editing. 2nd ed. London: Focal, 1995.

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Film editing: Theory and practice. Dulles, VA: Mercury Learning and Information, 2012.

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Hollyn, Norman. The film editing room handbook. 2nd ed. Beverly Hills, CA: Lone Eagle, 1990.

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Ohanian, Thomas A. Digital nonlinear editing: New approaches to editing film and video. Boston: Focal Press, 1993.

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Book chapters on the topic "Film editing and authorship"

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Authorship." In A Level Film Studies, 171–87. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-9.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Editing." In A Level Film Studies, 50–62. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-3.

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kydd, Elspeth. "Editing." In The Critical Practice of Film, 185–207. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_9.

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Jacob, Dodd. "Film bench editing." In 16mm and 8mm Filmmaking, 190–210. London; New York: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000334-13.

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Jacob, Dodd. "Film editing machines." In 16mm and 8mm Filmmaking, 211–28. London; New York: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000334-14.

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Hole, Kristin Lené, and Dijana Jelača. "Women filmmakers and feminist authorship." In Film Feminisms, 6–51. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315618845-2.

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Dixon, Mark. "Editing." In Essential Revision for A Level Film Studies, 46–72. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003119241-4.

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Rabiger, Michael, and Courtney Hermann. "You and Film Authorship." In Directing the Documentary, 5–18. Seventh edition. | London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429280382-3.

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Cobb, Shelley. "Film Authorship and Adaptation." In A Companion to Literature, Film, and Adaptation, 105–21. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118312032.ch6.

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Tryon, Chuck. "Crowdfunding, Independence, Authorship." In A Companion to American Indie Film, 431–51. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118758359.ch19.

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Conference papers on the topic "Film editing and authorship"

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Dambra, Savino, Giuseppe Samela, Lucile Sassatelli, Romaric Pighetti, Ramon Aparicio-Pardo, and Anne-Marie Pinna-Déry. "Film editing." In MMSys '18: 9th ACM Multimedia Systems Conference. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3204949.3204962.

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Prasetyaningsih, Sandi. "Creative Editing in Documentary Film." In The Second International Conference on Social, Economy, Education, and Humanity. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009121902650271.

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Prasetyaningsih, Sandi, and Gretchen Coombs. "Continuity Editing in Documentary Film." In The International Conference on Applied Engineering. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0010351200270033.

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Yang, Zuye, and Haoyuan Yu. "Detection of Image Significance in Film Editing." In 2020 IEEE 3rd International Conference on Information Systems and Computer Aided Education (ICISCAE). IEEE, 2020. http://dx.doi.org/10.1109/iciscae51034.2020.9236845.

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Hodge, Winston, Bill Harvey, and Robert S. Block. "A Film Quality Digital Archiving & Editing System." In SMPTE Advanced Television and Electronic Imaging Conference. IEEE, 1993. http://dx.doi.org/10.5594/m00673.

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Yeh, Mei-Chen, Ming-Chi Tseng, and Wen-Po Wu. "Automatic Social Network Construction from Movies Using Film-Editing Cues." In 2012 IEEE International Conference on Multimedia & Expo Workshops (ICMEW). IEEE, 2012. http://dx.doi.org/10.1109/icmew.2012.48.

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Jingcao, Zhang, and Zhou Zhide. "Research on Infringement of Short Video in Film and Television Editing." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.171.

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Tong, YanQiu, and QiHua Ren. "Research on the Editing of Film Trailer in the Perspective of Large Data." In 2014 International Conference on Social Science (ICSS-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icss-14.2014.56.

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Zhang, Jin. "Analysis on the Application of Editing Skills in Film and Television Creation Teaching." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.66.

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Wang, Zejun. "Analysis on the Application of Video Editing Skills Based on Image Mosaic in Film and Television Works." In CIPAE 2021: 2021 2nd International Conference on Computers, Information Processing and Advanced Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3456887.3459697.

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