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Relevant bibliographies by topics / Film editing and authorship

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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"

1

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 recorde

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Clay, Elonda. "These Gods Got Swagger." Bulletin for the Study of Religion 40, no. 3 (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 reconf

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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

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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

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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 (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 (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 classi

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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 spec

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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

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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 mult

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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

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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

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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) an

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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.<br>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"

1

Dmytryk, Edward. On Film Editing. Routledge, 2018. http://dx.doi.org/10.4324/9780429506086.

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

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

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Balmuth, Bernard A. Introduction to film editing. Focal, 1989.

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

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6

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

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

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8

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

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9

Hollyn, Norman. The film editing room handbook. 2nd ed. Lone Eagle, 1990.

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

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Book chapters on the topic "Film editing and authorship"

1

Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Authorship." In A Level Film Studies. 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. Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-3.

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kydd, Elspeth. "Editing." In The Critical Practice of Film. 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. Routledge, 2020. http://dx.doi.org/10.4324/9781003000334-13.

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Jacob, Dodd. "Film editing machines." In 16mm and 8mm Filmmaking. 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. 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. 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. 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. 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. 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. 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). 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). 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). 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. ACM, 2021. http://dx.doi.org/10.1145/3456887.3459697.

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