Log in

Relevant bibliographies by topics / Film editing and authorship / Journal articles

To see the other types of publications on this topic, follow the link: Film editing and authorship.

Journal articles on the topic 'Film editing and authorship'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Film editing and authorship.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

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.

Full text

Abstract:

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).

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

Jihong Kim. "The Comparison of the Authorship in Animation to the Film Authorship." Journal of Integrated Design Research 11, no. 2 (June 2012): 147–61. http://dx.doi.org/10.21195/jidr.2012.11.2.011.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Kim, Jong-Guk. "Film Editing as Emotion Communication." Journal of the Korea Contents Association 14, no. 11 (November 28, 2014): 584–91. http://dx.doi.org/10.5392/jkca.2014.14.11.584.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Murphy, Amanda, Rowan Aust, Vanessa Jackson, and John Ellis. "16mm Film Editing for Television." Archaeologies of Tele-Visions and -Realities 4, no. 7 (September 9, 2015): 7. http://dx.doi.org/10.18146/2213-0969.2015.jethc077.

Full text

Abstract:

Two television editors who once worked with 16mm film discuss and explore their former working methods and demonstrate how to make a picture cut using film. The method of ‘hands-on history’ used for this simulation is discussed, as are the problems of presenting such data.

APA, Harvard, Vancouver, ISO, and other styles

14

Callenbach, Ernest. ": On Film Editing . Edward Dmytryk." Film Quarterly 38, no. 4 (July 1985): 55. http://dx.doi.org/10.1525/fq.1985.38.4.04a00360.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Chmil, Hanna, and Kateryna Pshenychna. "Film Editing: From Avant-garde Films to Modern Editing Practice." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production, no. 2 (December 26, 2018): 98–106. http://dx.doi.org/10.31866/2617-2674.2.2018.151823.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Lagnado, Max. "Increasing the trust in scientific authorship." British Journal of Psychiatry 183, no. 1 (July 2003): 3–4. http://dx.doi.org/10.1192/bjp.183.1.3.

Full text

Abstract:

The system of scientific authorship is based on trust. Journal editors, reviewers and readers expect that a paper's content reflects the opinions of the authors and all the available data. Recently, there has been concern that this trust may be undermined by the involvement of industry-paid writers in the preparation of publications (Bodenheimer, 2000). These professional writers are either employed directly by pharmaceutical companies or work for medical communications agencies; their contribution to a paper varies, but may include writing the first draft of a manuscript for the authors to revise or editing a paper written by the authors (Lagnado, 2003). Despite much discussion about the merits of industry-funded writing assistance, there has been little research into its effects on the biomedical literature.

APA, Harvard, Vancouver, ISO, and other styles

17

Neely, S. "The Writer on Film: Screening Literary Authorship." Screen 56, no. 2 (June 1, 2015): 276–78. http://dx.doi.org/10.1093/screen/hjv025.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Karlsen, Joakim. "Aligning Participation with Authorship." Non-fiction Transmedia 5, no. 10 (December 31, 2016): 40. http://dx.doi.org/10.18146/2213-0969.2016.jethc111.

Full text

Abstract:

The main contribution of this article is to describe how the concept of non-fiction transmedia has challenged the independent documentary film community in Norway. How the new possibilities afforded by web- and mobile media, with the potential of reconfiguring the current relation between author and audience, has been perceived and performed. Based on an extensive interview study and reflections on contributing to a non-fiction transmedia project, I argue that the emerging practice of making non-fiction transmedia face many of the same challenges as the participative documentary practice of the 70s, mainly that facilitation of real audience participation, requires a break from the broadcasting logic of the mainstream documentary film practice.

APA, Harvard, Vancouver, ISO, and other styles

19

van Zundert, Joris J. "Author, Editor, Engineer — Code & the Rewriting of Authorship in Scholarly Editing." Interdisciplinary Science Reviews 40, no. 4 (October 2, 2015): 349–75. http://dx.doi.org/10.1080/03080188.2016.1165453.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Mulia, Prajanata Bagiananda, and D. ,. Dharsono. "EDITING CROSS-CUTTING IN THE FILM HAJI BACKPACKER." Capture : Jurnal Seni Media Rekam 11, no. 1 (November 27, 2019): 104–22. http://dx.doi.org/10.33153/capture.v11i1.2686.

Full text

Abstract:

The aim of this research is the revealing the use of editing cross-cutting formed in Haji Backpacker’s film. This research uses qualitative research method: interpretative analysis formalist aesthetics approach, editing cross-cutting of Karel Reisz through Sergei Eisenstein’s montage theory. This research focuses on studying the aesthetic and the application of editing cross-cutting in Haji Backpacker’s film. Editing cross-cutting observed from the forms, functions, relations of themes, and motivation of existence, until analysis of Sergei Eisenstein’s montage, those are metric, rhythmic, tonal, overtonal and intellectual. The results of this research reveals the artistic meanings of Haji Backpacker’s film as formalist aesthetics, and editing cross-cutting’s concepts that formed in Haji Backpacker’s film by Danial Rifki through montage analysis of Sergei Eisenstein.

APA, Harvard, Vancouver, ISO, and other styles

21

Shaw, John. "Court of Appeal clarifies joint authorship criteria under UK copyright law." Journal of Intellectual Property Law & Practice 15, no. 1 (December 10, 2019): 7–9. http://dx.doi.org/10.1093/jiplp/jpz158.

Full text

Abstract:

Abstract Julia Kogan v (1) Nicholas Martin (2) Big Hat Stories Limited (3) Florence Film Limited (4) Pathe Productions Limited (5) Qwerty Films Limited [2019] EWCA Civ 1645 The dispute between Ms Kogan and Mr Martin (and various film companies) regarding the authorship (or joint authorship) of the screenplay for the film depicting socialite Florence Foster Jenkins has been granted a retrial following a decision by the Court of Appeal that included an explanation of the criteria for joint authorship under UK law.

APA, Harvard, Vancouver, ISO, and other styles

22

Lapeña, José Florencio F. "Authorship Controversies: Gift, Guest and Ghost Authorship." Philippine Journal of Otolaryngology-Head and Neck Surgery 34, no. 1 (June 18, 2019): 4–5. http://dx.doi.org/10.32412/pjohns.v34i1.957.

Full text

Abstract:

Authorship, “the state or fact of being the writer of a book, article, or document, or the creator of a work of art,”1 derives from the word author, auctor, autour, autor “father, creator, one who brings about, one who makes or creates,” from Old French auctor, acteor “author, originator, creator, instigator,” directly from the Latin auctor “promoter, doer; responsible person, teacher,” literally “one who causes to grow.”2 It implies a creative privilege and responsibility that cannot be taken lightly. In the biomedical arena, the International Committee of Medical Journal Editors (ICMJE) “recommends that authorship be based on the following four criteria: 1. Substantial contributions to the conception or design of the work; or the acquisition, analysis, or interpretation of data for the work; AND 2. Drafting the work or revising it critically for important intellectual content; AND 3. Final approval of the version to be published; AND 4. Agreement to be accountable for all aspects of the work in ensuring that questions related to the accuracy and integrity of any part of the work are appropriately investigated and resolved.”3 Thus, all persons designated as authors should qualify for authorship, and all those who qualify as authors should be so listed.3 The first of these general principles means that all persons listed as authors should meet the four ICMJE criteria for authorship; the second principle means that all those who meet the four ICMJE criteria for authorship should be listed as authors.3 The first part of the statement disqualifies honorific “gift” authors, complementary “guest” authors, and anonymous “ghost” authors from being listed as authors. The second part ensures the listing of all those who qualify as authors, even if they are no longer part of the institution or group from which the work emanates (such as students who have graduated or residents and fellows who have completed their postgraduate training). Honorific or “gift” authorship takes place when a subordinate (or junior) person lists a superior (or senior) person as an author, even if that person did not meet the four ICMJE authorship criteria.4,5 Bestowing the gift on a Chief, Chair, Department Head, Director, Dean, or such other person is often done in gratitude, but carries an unspoken expectation that the favor will be returned in the future. It can also be bestowed under coercive conditions (that may overlap with those of guest authorship discussed next).4.5 It is unethical because the gifted person does not qualify for authorship when at most only acknowledgement is his or her due. In the extreme, such a person can be put in the uncomfortable and embarrassing situation of being unable to comment on the supposedly co-authored work when asked to do so. Moreover, the unqualified co-author(s) may actually attempt to wash their hands of any allegations of misconduct, claiming for example that the resident first author “plagiarized the material” or “fabricated or manipulated the data” but “I/we certainly had nothing to do with that” - - hence the fourth criterion for authorship came to be.3 Reviewers and Editors may suspect “gift” authorship when for instance, a resident listed as first author writes the paper in the first person, using the pronoun “I” instead of “we” and thanks the consultant co-author under the “acknowledgements” section. The suspicions are further reinforced when the concerned co-author(s) do not participate in, or contribute to revising the manuscript critically for important intellectual content during the review and editing process. Guest authorship takes place when influential or well-known individuals “lend” their name to a manuscript to boost its prestige, even though they had nothing to do with its creation.6,7 They may have been invited to do so by one or more of the actual authors, but they willingly agree, considering the arrangement mutually-beneficial. Thus, a student or resident may knowingly invite an adviser or consultant to be listed as co-author, even if the latter did not meet authorship criteria. The former perceives that having a known co-author increases the chances of a favorable review and publication; the latter effectively adds another publication to his or her curriculum vitae. It is not difficult to see how such symbioses may thrive in the “publish or perish” milieu of academe. Research advising alone, even if editing of the research paper was performed, do not qualify one for authorship (Cf. “gift” authorship). This is not to say that a research, thesis or dissertation adviser may not be listed as co-author – as long as he or she meets the 4 ICMJE criteria for authorship.3 A related misconduct is the practice by certain persons with seniority of insisting their names be listed first, even if more junior scholars did all the innovative thinking and research on a project. Indeed, the order of authorship can be a source of unhappiness and dispute. Authors be listed in the order of their contributions to the work – the one who contributed most is listed first, and the order of listing should be a joint decision of all co-authors at the start of the study (reviewed periodically). Ghost authorship usually pertains to paid professional writers who anonymously produce material that is officially attributed to another author.7,8 They may operate out of establishments that manufacture term papers, theses, and dissertations for the right price (such as the infamous C.M. Recto district in downtown Manila, now replaced by numerous online services). They may also be employed by the pharmaceutical industry to write promotional, favorable studies that will list well-known persons (professors, scientists, senior clinicians) as authors, often with consent and adequate compensation.8 Examples include “a professor at the University of Wisconsin” being paid “$1,500 in return for putting his name” on “an article on the ‘therapeutic effects’ of their diet pill Redux (dexfenfluramine),” that was “pulled from the market” a year later “as doctors began reporting heart-valve injuries in as many as one-third of patients taking the drug” and the drug “later linked to dozens of deaths.”9 Similar cases involved the “deadly drug” rofecoxib (Vioxx) “eventually blamed for some 60,000+ deaths,” that “was also linked to a number of shameful scandals relating to fraudulent studies and the use of ghostwriters to boost sales.”9 The costs involved are not meager; Parke-Davis paid “a medical education communication company (MECC) to write articles in support of the drug” Neurontin (gabapentin) “to the tune of $13,000 to $18,000 per article. In turn, MECC paid $1,000 each to friendly physicians and pharmacists to sign off as authors of the articles.”9 Pfizer (who acquired Neurontin form Parke-Davis) “was found guilty of illegally promoting off-label uses of Neurontin,” and “fined more than $142 million in damages.”9 Whether or not morbidities or mortalities ensue from the practice, both ghosts and beneficiary-authors should be held liable in such situations. Clearly, the practice of “gift,” “guest,” and “ghost” authorship should not be entertained by authors or tolerated by editors and reviewers. Authorship should be based on the ICMJE authorship criteria. Our editors and reviewers vigilantly strive to uphold and protect the rights and welfare of our authors and the integrity and soundness of their research. We call on all fellows, diplomates and residents in training to do the same.

APA, Harvard, Vancouver, ISO, and other styles

23

Ruby, Jay. "The Moral Burden of Authorship In Ethnographic Film." Visual Anthropology Review 11, no. 2 (September 1995): 77–82. http://dx.doi.org/10.1525/var.1995.11.2.77.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Naremore, James. "Authorship and the Cultural Politics of Film Criticism." Film Quarterly 44, no. 1 (October 1990): 14–23. http://dx.doi.org/10.1525/fq.1990.44.1.04a00040.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Naremore, James. "Authorship and the Cultural Politics of Film Criticism." Film Quarterly 44, no. 1 (1990): 14–23. http://dx.doi.org/10.2307/1212695.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Welsh, James M. "Authorship in Film Adaptation by Jack Boozer, Editor." Journal of American Culture 32, no. 3 (September 2009): 269–71. http://dx.doi.org/10.1111/j.1542-734x.2009.00716_6.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Raw, Lawrence. "Authorship in Film Adaptation, Jack Boozer (ed.) (2008)." Journal of Screenwriting 1, no. 1 (January 1, 2010): 210–13. http://dx.doi.org/10.1386/josc.1.1.210.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Grant, C. "Secret agents: Feminist theories of women's film authorship." Feminist Theory 2, no. 1 (April 1, 2001): 113–30. http://dx.doi.org/10.1177/14647000122229325.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Rudman, Joseph. "Unediting, De-Editing, and Editing in Nontraditional Authorship Attribution Studies: With an Emphasis on the Canon of Daniel Defoe." Papers of the Bibliographical Society of America 99, no. 1 (March 2005): 5–36. http://dx.doi.org/10.1086/pbsa.99.1.24295850.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Hill, James W., and Eugene N. Finley. "Sound mixing system for film sound editing." Journal of the Acoustical Society of America 81, no. 1 (January 1987): 211. http://dx.doi.org/10.1121/1.394977.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Callenbach, Ernest. "Review: On Film Editing by Edward Dmytryk." Film Quarterly 38, no. 4 (1985): 55. http://dx.doi.org/10.2307/1212420.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Werstíne, Paul. "Shakespeare, More or Less: A.W. Pollard and Twentieth-Century Shakespeare Editing." Florilegium 16, no. 1 (January 1999): 125–45. http://dx.doi.org/10.3138/flor.16.011.

Full text

Abstract:

Those who have disputed Shakespeare's authorship of the plays and poems usually attributed to him have been inclined to name the eminent Shakespeare scholars who have vilified the anti-Stratfordian cause. In the Preface to his 1908 book The Shakes-peare Problem Restated, the urbane Sir Granville George Greenwood quoted Sidney Lee, then chair of Shakespeare's Birthplace Trust, mocking the Baconian theory as "foolish craze,' morbid psychology,' madhouse chatter" (vii) and John Churton Collins, chair of English Literature at the University of Birmingham, denouncing it as "ignorance and vanity" (viii). More recently, Charlton Ogburn has listed among the detractors of the Oxfordian theory Louis B. Wright, former director of the Folger Shakespeare Library (154, 161, 168); S. Schoenbaum, author of Shakespeare's Lives, which devotes one hundred pages "to denigration of...anti-Stratfordian articles and books" (152); and Harvard Shakespeare professors G. Blakemore Evans and Harry Levin (256-57). In view of the energy and labour expended by numerous prominent scholars defending Shakespearean authorship, it is not surprising to discover that this defence has influenced reception of Shakespeare's works and their editorial reproductions. This essay deals with the very successful resistance movement against the anti-Stratfordians that was led by A.W. Pollard from 1916 to 1923, and with the peculiar influence that Pollard's efforts have continued to exert, even upon today's Shakespeare editors.

APA, Harvard, Vancouver, ISO, and other styles

33

Byron, Mark. "Ezra Pound's Cantos: A Compact History of Twentieth-Century Authorship, Publishing and Editing." Literature Compass 4, no. 4 (July 2007): 1158–68. http://dx.doi.org/10.1111/j.1741-4113.2007.00475.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Winston, Brian. "Beyond observation: A history of authorship in ethnographic film." Studies in Documentary Film 14, no. 3 (May 12, 2020): 280–81. http://dx.doi.org/10.1080/17503280.2020.1762319.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Palis, Eleni. "Race, authorship and film quotation in post-classical cinema." Screen 61, no. 2 (2020): 230–54. http://dx.doi.org/10.1093/screen/hjaa012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Finch, Zach. "Editing memory in Remembrance." Short Film Studies 10, no. 1 (January 1, 2020): 49–52. http://dx.doi.org/10.1386/sfs.10.1.49_1.

Full text

Abstract:

Abstract Remembrance demonstrates how Alfred, and indeed everyone, must edit memory and sensory information to act with purpose. To accomplish this, the film portrays a character's struggles with an extreme form of photographic memory, synaesthesia, and newfound convictions through its expressive editing.

APA, Harvard, Vancouver, ISO, and other styles

37

Shabalin, Vladimir Vasilyevich. "Split Screen as a Method of Film Editing." Journal of Flm Arts and Film Studies 7, no. 1 (March 15, 2015): 128–34. http://dx.doi.org/10.17816/vgik71128-134.

Full text

Abstract:

The article investigates the visual integration of permanent data flows in the television frame as exemplified by the split screen as a new method of creating actuality programs. The author shows the artistic aspect of the objects interplay in the 2D and poly-angle frame.

APA, Harvard, Vancouver, ISO, and other styles

38

Wise, John A., and Anthony Debons. "Principles of Film Editing and Display System Design." Proceedings of the Human Factors Society Annual Meeting 31, no. 1 (September 1987): 121–24. http://dx.doi.org/10.1177/154193128703100127.

Full text

Abstract:

Contemporary display systems are notorious for their lack of flow across display pages. The capabilities to dynamically change the makeup and layout of a display that are resident in windowing and sensor fusion systems are beginning to present the display system designer with even more complex display transition problems. The motion picture industry, on the other hand, has for years successfully presented a series of dynamic visual displays, where changes from one scene (or display) to the next has been accomplished with no notice, or where the change has actually enhanced the information flow to the viewer. This paper discusses how some of the techniques and principles used in making editing decisions might be applied to the design of display systems.

APA, Harvard, Vancouver, ISO, and other styles

39

Janiga-Perkins, Constance G. "The Materiality of Meaning: identity and multiple-authorship in Sor María Manuela de Santana’s Esquelas originales de correspondencia espiritual y poesías místicas." Textual Cultures 10, no. 2 (October 18, 2018): 28–50. http://dx.doi.org/10.14434/textual.v10i2.13935.

Full text

Abstract:

This article analyzes the spiritual correspondence of María Manuela de Santana from two perspectives. First, we examine the study of identity carried out in the rhetoric of the Peruvian nun’s letters, with an eye to identifying the messages she is trying to give the reader regarding her spiritual life here on earth. Then we discuss the effects of multiple-authorship on María Manuela de Santana’s voice in the Esquelas by examining the material role in the text of the editing subject. We will center our efforts on the development of María Manuela as both narrator and protagonist, and show how the material manifestations of multiple- authorship affect our perception of women’s voices during the Early Modern age in Spanish America.

APA, Harvard, Vancouver, ISO, and other styles

40

Sun, Yi. "Adaptation and Adaptability: Multiple Authors and Studio Authorship in SoulMate." Adaptation 13, no. 1 (October 11, 2019): 113–28. http://dx.doi.org/10.1093/adaptation/apz025.

Full text

Abstract:

Abstract This article examines a China-Hong Kong co-produced film adaptation, SoulMate, within sociocultural, industrial, and organizational contexts. It argues that, first, the film adaptation’s authors are not limited to the agents who adapt the source material. The production company explores and exploits a variety of authors, including extrinsic names to the work, as symbolic resources to serve the discourse surrounding the film; and the adaptation status makes a special contribution to that process by multiplying authors and by generating cross-references. Second, film adaptation has a specific and significant bearing on the adaptability of production houses that encounter changing sociocultural and industrial environments. This article hopefully broadens the understanding of film adaptation in alternative historical periods and industrial contexts other than Hollywood with a simultaneous effort to propose new approaches to the study of Chinese-language film adaptation. It also attempts to expand the discourse of authorship in film adaptation studies and in film studies more generally by identifying filmmaking entities, in addition to directors, producers, and writers, as adaptive co-authors and non-conflicting stakeholders in the business of film adaptation.

APA, Harvard, Vancouver, ISO, and other styles

41

Permana, Rangga Saptya Mohamad, Lilis Puspitasari, and Sri Seti Indriani. "Pelatihan Post-Produksi (Audio-Visual Editing) Film Indie di Armidale English College Soreang, Bandung." Jurnal Pengabdian Pada Masyarakat 4, no. 1 (April 9, 2019): 19–28. http://dx.doi.org/10.30653/002.201941.88.

Full text

Abstract:

INDIE FILM EDITING TRAINING AT ARMIDALE ENGLISH COLLEGE OF SOREANG, BANDUNG REGENCY. A film can be seen as a medium of mass communication because in a film there are elements of entertainment, education, and information. In fact, a film can be an advocacy media that encourages a social change. In the film production management, there are major label and indie label concepts, where the indie label focuses on film content and filmmakers' freedom of expression. The stages that must be passed by a filmmaker in producing a film starts from the stages of development, pre-production, production, post-production, and distribution. The post-production stage is the most important stage that determines whether a film is classified as a quality film or not because it involves the final touch of a film. Therefore, the author decided to make a community service program in the form of post-production indie film training (audio-visual editing) at Armidale English College, Soreang District, Bandung Regency. The purpose of this training is to provide practical understanding and skills in the field of audio-visual editing to the trainees. The various implementation methods used in this training included media communication methods (audio-visual), lecture methods, interactive methods, pre-test and post-test methods, and simulation methods. The results achieved after the training was carried out were that the trainees experienced increased understanding and skills in the context of indie film post-production, especially in the process of audio-visual films editing. Keywords: Audio-Visual, Editing, Indie Film, Post-Production, Training.

APA, Harvard, Vancouver, ISO, and other styles

42

Sourdis, Carolina, and Gonzalo de Lucas. "The essay film as methodology for film theory and practice." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 80–96. http://dx.doi.org/10.33178/alpha.17.05.

Full text

Abstract:

The essayistic device in film often brings together two temporalities of film creation: the present of the filmed image and the present of the editing process. Through the interaction of both moments, provoked by the critical revision of the raw material and its possibilities of montage, the essay film is constructed through the filmmaker’s exploration of the filmic apparatus, thus revealing film forms as a way of producing and disseminating knowledge. The essay film, therefore, subverts a common theoretical practice: thought is no longer assumed as a procedure for unveiling an image, but it is rather produced by film forms. We claim that the essay film, as a research methodology and a theoretical approximation to film informed by practice, must be unfolded through creative gestures, this is to say, images and sounds that present an audiovisual synthesis of the conscious and intuitive work that both precedes and is synchronic to the moments of filming and editing. This article addresses the essay film through a comparative association of several filmmakers that express and study both concrete and abstract issues of cinema and filmmaking through their own creative practices.

APA, Harvard, Vancouver, ISO, and other styles

43

Efimova, Natalia Nikolaevna. "Sound Editing in Screen Works." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 73–81. http://dx.doi.org/10.17816/vgik7273-81.

Full text

Abstract:

The article pinpoints peculiarities of sound editing in movies basing on analysis of partitions of popular films of40-90s; the most frequent principles of sound track arrangement are examined for the first time. The stuff selection is conditioned by measure of popularity of screen works in question. Due to talent of such famous composers as I. Dunaevsky, S. Prokofiev, A. Khachaturian, A. Pakhmutova, A. Petrov et al and their ability to hear plastic imagery, to comprehend filmic atmosphere music plays an extremely important part in these films. Many songs from these films are still in circulation even now. Thorough sound design and editing are of great significance in film production. The author comes to conclusion, that rondo as a musical form and leit-motif as a principle of musical stuff development form a dominant principle of sound stuff arrangement. The two fundamentally tighten the structure of the film. Since original music affords to accentuate sound effects in the most adequate way, it seems perfect to call to a composer for creating original music. The author assumes, that the choice of sound arrangement principle in cinema depends on deliberate conception of the film, wrought out by the helmer, composer, and supervising sound editor. The screen works property is closely bound with attentive partition editing.

APA, Harvard, Vancouver, ISO, and other styles

44

Swenberg, Thorbjörn, and Per Erik Eriksson. "Effects of Continuity or Discontinuity in Actual Film Editing." Empirical Studies of the Arts 36, no. 2 (November 30, 2017): 222–46. http://dx.doi.org/10.1177/0276237417744590.

Full text

Abstract:

The film editor’s task in refining film edits by frame-by-frame matching is an important undertaking in perceptual precision. This article investigates whether the failure of a few frames jeopardizes the perceived continuity of a film. Thirty-three Swedish students were eye-tracked while watching two versions of the same documentary film sequence; one version was completed to continuity satisfaction by a film editor, while the other had some frames altered toward discontinuity. Gaze hits in Areas-of-Interest appointed by the film editor, saccade frequency, and pupil dilation after edit points were measured. No significant difference was found for hits in Areas-of-Interest, whereas saccade frequency and relative pupil size increased after edits in the altered version of the film sequence. Results indicate that the altered film sequence constrained viewers with possible cognitive effects, implying that frame-by-frame matching of film edits achieved by film editors is crucial to film continuity.

APA, Harvard, Vancouver, ISO, and other styles

45

Holt, Jillian. "Intuition in creative film editing practice: using phenomenology to explain editing as an embodied experience." Media Practice and Education 21, no. 2 (December 6, 2019): 121–32. http://dx.doi.org/10.1080/25741136.2019.1694382.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

David R. Coon. "Mythgarden: Collaborative Authorship and Counter-Storytelling in Queer Independent Film." Journal of Film and Video 70, no. 3-4 (2018): 44. http://dx.doi.org/10.5406/jfilmvideo.70.3-4.0044.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Guneratne, Anthony. "The Greatest Shakespeare Film Never Made: Textualities, Authorship, and Archives." Shakespeare Bulletin 34, no. 3 (2016): 391–412. http://dx.doi.org/10.1353/shb.2016.0033.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Walker, Catherine. "Film review: Authorship and authority – reflections on ‘Stories we tell’." European Journal of Women's Studies 21, no. 2 (April 27, 2014): 206–7. http://dx.doi.org/10.1177/1350506813519236.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Macgillivray, James. "Film Grows Unseen: Gregory Markopoulos, Robert Beavers, and the Tectonics of Film Editing." Journal of Modern Craft 5, no. 2 (July 2012): 179–201. http://dx.doi.org/10.2752/174967812x13346796878030.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Logvinova, Irina V. "V.V. Rozanov and the Zeichensteins." Almanac “Essays on Conservatism” 60 (December 12, 2019): 211–18. http://dx.doi.org/10.24030/24092517-2019-0-4-211-218.

Full text

Abstract:

The article raises the question of the authorship of the “Notes of S.I. Zeichenstein” (“Autobiography of an Orthodox Jew with the application of Talmudic stories, anecdotes and legends. The manuscript is prepared for publication, notes of Rozanov V.V.”). While working with biographical materials and archival data, the author comes to the conclusion that the “Notes” were written on behalf of S.I. Zeichenstein by his son and probably by other persons, and then submitted for editing to V.V. Rozanov.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!