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Journal articles on the topic 'Film editors'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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

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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.

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2

Yeremenko, Evgeniy D., and Zoya V. Proshkova. "Editor as a phenomenon of Soviet art culture." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 31–38. http://dx.doi.org/10.30725/2619-0303-2021-2-31-38.

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The article is devoted to understanding the image of the Soviet editor in Russian art (using examples of fiction and cinema). The author examines the personal qualities that contributed to the entry of a person into the profession («editorial character») and provides a chronological observation of the «editorial evolution» – in publishing and film production-throughout the Soviet period and the first years of Russia in the 1990s. An important aspect that has been updated since the early 1920s is the active inclusion of women in editorial work. The characteristics of editors of different Soviet periods are analyzed using examples from the prose of M. Bulgakov, V. Shishkov, L. Rakhmanov, A. Tobolyak, V. Astafyev. Portraits of Soviet film editors are considered in the works of J. Gausner, N. Bogoslovsky, V. Makanin, D. Rubina and M. Kuraev. Representatives of the editorial profession are also represented in the films of A. Tarkovsky, V. Zheregy, K. Shakhnazarov and A. Benckendorf. There are two main types in the artistic depiction of editors and their activities: satirical (in a pointed form ridiculing personal and professional shortcomings) and dramatic (reflecting the complexity of editorial characters in their inseparability with the influence of society, historical era). In the final part of the article, the vectors of professional diffusions in the film-editing corps are outlined with the end of the Soviet era and the need to adapt to the new, post-Soviet realities.

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3

Meyer, Birgit, and Stephen Hughes. "Guest Editors' Preface." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (2005): 149–53. http://dx.doi.org/10.1558/post.v1i2_3.149.

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This special issue of Postscripts addresses the interace of religion and film by exploring both hos religion is deployed through film and how film is utilized in service of religion. The issues is based on a workshop, Mediating Religion and Film in a Post-Secular World held June 16-17, 2005, at the University of Amsterdam.

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Missero, Dalila. "Titillating Cuts." Feminist Media Histories 4, no. 4 (2018): 57–82. http://dx.doi.org/10.1525/fmh.2018.4.4.57.

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The article analyzes the experiences of Italian women editors as examples of the complex interplay between modes of resistance and acceptance developed by women professionals in a male-dominant film industry. Retracing the evolution of the profession of editor from the silent era to the 1970s, the article navigates the genealogies of Italian women who worked in the cutting room. These women used their creative and professional skills to overcome obstacles imposed by a film industry that otherwise reproduced entrenched patterns of gender and class discrimination. In particular the case of Ornella Micheli, a professional editor who worked on more than sixty films between the 1950s and the 1970s, reveals a practitioner who fitted into the mechanisms of her working environment, but also developed her own personal strategies to affirm her professional status and ensure the continuity of her career.

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5

Kwiatkowska, Paulina. "Zofia Dwornik: Becoming a Female Film Editor." Panoptikum, no. 23 (August 24, 2020): 63–76. http://dx.doi.org/10.26881/pan.2020.23.05.

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In this article the author intends to recall the figure of Zofia Dwornik, one of the most appreciated and nowadays rather forgotten female film editors of post-war communist Poland. For the twenty-five years of her creative activity, Dwornik cooperated in the production of more than thirty films with the most important directors of the Polish cinema in the 1950s, 60s and 70s. In the Polish post-war cinema, the profession of film editor was strongly feminised. In the case of Dwornik, her decision to choose this particular profession was, however, based on additional objective considerations, closely related to the context of the Stalinist period in Poland, and was not her first choice of career – she had wanted to become a film director. In this article the author takes a closer look not so much at the achievements of Dwornik in the 1960s and 70s, but at the complex circumstances that influenced her later career. Therefore, the author tries to reconstruct the most important moments in Dwornik’s student and professional life in the first years after WWII and analyse one of the film études she made at the Film School in Łódź, in order to examine the reasons for her decision to become a film editor. This allows also to formulate some hypotheses how her career might have developed, had she been given the chance to graduate and try her hand at directing.

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6

Pantenburg, Volker. "From the golden age of television: The case of Westdeutscher Rundfunk (WDR)." Critical Studies in Television: The International Journal of Television Studies 14, no. 1 (2019): 106–24. http://dx.doi.org/10.1177/1749602018818263.

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The mid-1970s proved a particularly fertile moment in the encounter between cinema and television in West Germany. Focusing on different editorial units at Cologne-based Westdeutscher Rundfunk (WDR), this dossier traces the sense of experimentation at the public service broadcaster. Commissioning editors like Werner Dütsch at the film unit, Angelika Wittlich and the series Telekritik, but also those at the department ‘Language and Literature’ made it possible for critics and film-makers like Harun Farocki to explore essayistic formats and programmes. The dossier combines a retrospective essay by WDR commissioning editor Dütsch, several archival documents from 1974 to 1976, and starts with a contextualising essay by Pantenburg.

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7

Cutting, James E., and Karen Pearlman. "Shaping Edits, Creating Fractals." Projections 13, no. 1 (2019): 1–22. http://dx.doi.org/10.3167/proj.2019.130102.

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We investigated physical changes over three versions in the production of the short historical drama, Woman with an Editing Bench (2016, The Physical TV Company). Pearlman, the film’s director and editor, had also written about the work that editors do to create rhythms in film (Pearlman 2016), and, through the use of computational techniques employed previously (Cutting et al. 2018), we found that those descriptions of the editing process had parallels in the physical changes of the film as it progressed from its first assembled form, through a fine cut, to the released film. Basically, the rhythms of the released film are not unlike the rhythms of heartbeats, breathing, and footfalls—they share the property of “fractality.” That is, as Pearlman shaped a story and its emotional dynamics over successive revisions, she also (without consciously intending to do so) fashioned several dimensions of the film— shot duration, motion, luminance, chroma, and clutter—so as to make them more fractal.

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8

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

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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.

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9

Vaughn, Stephen, and Bruce Evensen. "Democracy's Guardians: Hollywood's Portrait of Reporters, 1930–1945." Journalism Quarterly 68, no. 4 (1991): 829–38. http://dx.doi.org/10.1177/107769909106800424.

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Reporters in films of the early 1930s were often portrayed as drunks or as less than glamorous, as evidenced by the 1930 film “The Front Page.” By the end of the decade, pressure from the American Newspaper Publishers Association, American Society of Newspaper Editors, and other professional organizations, plus film-makers' need for good press, caused a change in the way reporters appeared, as evidenced by “His Girl Friday,” the 1940 remake of “The Front Page.” World War II films often portrayed reporters as searchers for truth in a free democratic system, a striking contrast to fascist control of information abroad. This study is based on the recently opened files of the Production Code Administration plus the viewing of 35 key films of the period.

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10

Jacob, Clarissa K. "Women & Film." Feminist Media Histories 1, no. 1 (2015): 153–62. http://dx.doi.org/10.1525/fmh.2015.1.1.153.

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This short essay provides an introduction to the short-lived but influential magazine Women & Film, published in California between 1972 and 1975. Two graduate students, Siew-Hwa Beh (b. 1945) and Saundra Salyer (b. 1946), from the University of California, Los Angeles, and San Francisco State, respectively, were the founders of this pioneering publication devoted entirely to providing a feminist perspective on film. They set up the magazine in response to a collision between their radical leftist and feminist politics and their cinephilia. This essay contextualizes some examples, which are reproduced here, of the first issue's contents. It also sheds light on the eclectic and impassioned approach adopted by the magazine's editors and contributors, bolstered by accompanying excerpts and images.

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11

Prince, Stephen. ": First Cut: Conversations with Film Editors . Gabriella Oldham." Film Quarterly 48, no. 1 (1994): 63. http://dx.doi.org/10.1525/fq.1994.48.1.04a00310.

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12

Çağlayan, Emre. "Review of Terrence Malick: Film and Philosophy." CINEJ Cinema Journal 3, no. 2 (2014): 263–67. http://dx.doi.org/10.5195/cinej.2014.112.

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This new anthology edited by Thomas Dean Tucker and Stuart Kendall predates the release of The Tree of Life and examines Malick’s earlier work from a variety of philosophical perspectives. The editors argue that Malick’s background in philosophy not only warrants philosophical questions into his oeuvre, but more importantly his “films offer privileged sites for this kind of inquiry”

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13

Longo, Regina. "An Interview with Editors Anton Kaes, Nicholas Baer, and Michael Cowan on The Promise of Cinema: German Film Theory, 1907–1933." Film Quarterly 69, no. 3 (2016): 96–101. http://dx.doi.org/10.1525/fq.2016.69.3.96.

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FQ's “Page Views” feature reviews a new seminal anthology of German film theory that presents important texts by early film theorists that have never before been published in English. Editors Kaes, Baer, and Cowan are interviewed about the process of curating this anthology and about their ongoing work to highlight the importance of early and classical film theory for the new media age. A free chapter of the book is available for download at filmquarterly.org.

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Gavrilova, Olga Viktorovna. "Using graphics editors as a means of developing students' creative abilities." Uchenyy Sovet (Academic Council), no. 5 (April 22, 2021): 384–93. http://dx.doi.org/10.33920/nik-02-2105-06.

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This article discusses a very well-known and frequently used technique for an implementation of a variety of artistic projects - a collage created by means of information technology. The article tells about using collage in higher education for teaching graphics, in particular, raster editors. Graphics editors such as Adobe Photoshop or GIMP are included in the Computer Science and Information Technology program. Students get the opportunity to create graphic images regardless of their prior art education. The introduction of the topic "Creating a collage by means of a raster editor" introduces a creative element into IT disciplines and develops the student's associative thinking at the level of brain functioning. As a rule, raster editors are used to edit an image, not to create it. Therefore, preparation for these classes encourages students to search for the necessary visual material on the Internet. In order to obtain more personal images, a deep study of photography techniques is required. It is also useful to study the history of photo and film collages, their texture and structure. The scope of the collage use is various. This is psychology, teaching foreign languages and, of course, fine arts. Advertising posters that we see in large numbers in the media and transport are also collages. The article traces the history of collage creation from ancient Egyptian history to modern advertising products. It is especially interesting to study the time when collage became a conscious technique. This is a great layer of avant-garde art.

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Dimitrios Latsis and Grazia Ingravalle. "Guest Editors' Foreword: Digital Humanities and/in Film Archives." Moving Image: The Journal of the Association of Moving Image Archivists 17, no. 2 (2017): xi. http://dx.doi.org/10.5749/movingimage.17.2.00xi.

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Story, Brett, Michelle Brown, and Eamonn Carrabine. "The Prison in Twelve Landscapes: An interview with film producer and director Brett Story." Crime, Media, Culture: An International Journal 13, no. 1 (2016): 107–13. http://dx.doi.org/10.1177/1741659016669192.

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17

Bell, Melanie. "Rebuilding Britain." Feminist Media Histories 4, no. 4 (2018): 33–56. http://dx.doi.org/10.1525/fmh.2018.4.4.33.

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Women's marginalization in the British feature film industry is well documented: gender discrimination, and sometimes overt segregation, shut most women out of senior creative roles after the introduction of sound. What has received less critical attention is their participation in nonfiction filmmaking, which offered women greater employment opportunities, especially in the decades after World War II as Britain rebuilt its economy. This article provides the first historical mapping of women's involvement in sponsored nonfiction filmmaking in Britain in the period between 1945 and 1970, using newly available statistical data from Britain's film trade union, the Association of Cinematograph, Television and Allied Technicians (ACTT). It also draws on oral histories, extant films, and specialist trade publications to outline two case studies, one featuring three editors, and the other a director (Sarah Erulkar) who between them produced, directed and edited more than two hundred shorts on topics ranging from mineshaft sinking to French cookery. It argues that evidence of women's creative agency in this sector offers new ways of thinking about film history.

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18

Prince, Stephen. "Review: First Cut: Conversations with Film Editors by Gabriella Oldham." Film Quarterly 48, no. 1 (1994): 63. http://dx.doi.org/10.2307/1212946.

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19

Klimova, Olga. "Reading Other People’s Letters in the 1970s: Reconstructing Soviet Spectatorship in Il’i͡a Averbakh’s Other People’s Letters (1975)." Soviet and Post-Soviet Review 40, no. 1 (2013): 3–37. http://dx.doi.org/10.1163/18763324-04001001.

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This paper studies audiences’ responses, published in the Soviet press of the 1970s, to Il’i͡a Averbakh’s 1975 film Other People’s Letters. Averbakh’s film was made in the context of a stiffening ideological situation in the country, on the one hand, and the commercialization of Soviet cinema, on the other hand. Young and adult viewers reacted to the film differently and recreated their own messages, in accordance to their position in the power structure. As it is evident from the analysis of film reviews and letters to the editors, regarding Other People’s Letters, the prevailing spectatorial position during the Brezhnev years was “negotiating,” thus continuing the tradition of the Thaw culture. It allowed Soviet viewers to discuss some unconventional questions, while still limiting their ability to openly talk about some other taboo topics. The negotiating position was challenged and manipulated by viewers who were associated with authoritative, official discourse.

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20

Sui Lyn, Hor, Sarina Mansor, Nouar AlDahoul, and Hezerul Abdul Karim. "Convolutional Neural Network-based Transfer Learning and Classification of Visual Contents for Film Censorship." Journal of Engineering Technology and Applied Physics 2, no. 2 (2020): 28–35. http://dx.doi.org/10.33093/jetap.2020.2.2.5.

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Content filtering is gaining popularity due to easy exposure of explicit visual contents to the public. Excessive exposure of inappropriate visual contents can cause devastating effects such as the growth of improper mindset and rise of societal issues such as free sex, child abandonment and rape cases. At present, most of the broadcasting media sites are hiring censorship editors to label graphic contents manually. Nevertheless, the efficiency is limited by factors such as the attention span of humans and the training required for the editors. This paper proposes to study the effect of usage of Convolutional Neural Network (CNN) as feature extractor coupled with Support Vector Machine (SVM) as classifier in an automated pornographic detection system. Three CNN architectures: Mobile Net, Visual Geometry Group-19 (VGG-19) and Residual Network-50 Version 2 (ResNet50_V2), and two classifiers: CNN and SVM were utilized to explore the combination that produce the best result. Frames of films fed as input into the CNN were classified into two groups: porn or non-porn. The best accuracy was 92.80% obtained using fine-tuned ResNet50_V2 as feature extractor and SVM as classifier. Transfer learning and SVM have improved the CNN model by approximately 10%.

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Helmer, Dona J. "Book Review: Ghosts in Popular Culture and Legend." Reference & User Services Quarterly 56, no. 4 (2017): 303. http://dx.doi.org/10.5860/rusq.56.4.303b.

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The co-editors are June Pulliam, who teaches classes in horror literature, YA fiction, and film, and Anthony Fonesca, who has written about horror and also has a background in information literacy. They previously co-authored Hooked on Horror: A Guide to Reading Interests in the Genre, and have now applied their talents and expertise to create a work that contains accessible information about a popular topic.

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Sprochi, Amanda K. "Book Review: Race in American Film: Voices and Visions That Shaped a Nation." Reference & User Services Quarterly 57, no. 3 (2018): 228. http://dx.doi.org/10.5860/rusq.57.3.6629.

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Race in American Film is a three-volume encyclopedic treatment of race and racism in American cinema, from the early film era to modern times. The editors, Daniel Bernardi and Michael Green, address the question of “American cinema’s place in American and world culture with respect to the question of race” (xxx). For the purpose of this three-volume set, they define “race” broadly, using Omi and Winant’s definition of race as a “‘shifting yet reforming’ complex of meanings that works to shape our sense of selves and those we see as similar—thereby allowing us to see others as different.” (xxi) The concept of race, therefore, is subject to change over time and among different social groups.

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23

Goldstein, Joshua. "The Cinema of Hong Kong: History, Arts, Identity. Edited by Poshek Fu and David Desser. [Cambridge: Cambridge University Press, 2002. 333 pp. ISBN 0-521-77602-3.]." China Quarterly 174 (June 2003): 545–46. http://dx.doi.org/10.1017/s0009443903360310.

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This edited volume of 14 essays is an aptly titled and useful resource, particularly for anyone interested in the first of its three themes, the history of Hong Kong film from the 1920s up to the present. Like most such volumes, the essays are of uneven quality and the editors could have done a bit more to fix some awkward writing and iron out some grammatical wrinkles and typos.

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Berke, Annie. "Whatever Happened to Janet Wood? Women Story Editors in 1950s Television." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (2019): 127–55. http://dx.doi.org/10.1215/02705346-7772411.

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This article places 1950s women story editors in television in the context of the studio system and explains the particular labor of the story and script editors in film and TV. It examines the extant records and archival sources (including newspapers, industry trade publications, and internal memos) of women story editors such as Dorothy Hechtlinger, Alice Young, Jacqueline Babbin, and Janet Wood in conjunction with the historical work of David Waterman and Erin Hill, as well as the theoretical model Michel Foucault posits in his essay on the criminal notices of obscure “infamous men.” These “infamous” (or, more appropriately, un-famous) women story editors become visible as they are being penalized, disciplined, or fired—which is to say, they only appear in the historical record when they are being pushed out or when they push back. As Hechtlinger writes in an angry memo to a supervisor at The United States Steel Hour (ABC, 1953–55; CBS, 1955–63), “I think it was a shameful omission that I was not permitted to attend today’s meeting.” For decades, women like Hechtlinger and Wood have suffered such “omissions” within television history. This essay seeks to integrate their stories, work, and subjectivities into the field of postwar media industry studies while revealing how this hidden history invites a rereading of media texts from the period.

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Wiedemann, Thomas. "Struggling for legitimate meaning: Agent–structure dynamics in German filmmaking." International Journal of Media & Cultural Politics 16, no. 3 (2020): 291–308. http://dx.doi.org/10.1386/macp_00030_1.

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Given the state sponsorship of film production in Germany, this article examines general mechanisms in the formation of meaning in German filmmaking. With reference to Schimank’s framework of agent–structure dynamics and based on a constructivist understanding of the world, the results of 97 expert interviews with screenwriters, directors, producers, distributors, cinema theatre operators, funding representatives and public television editors, as well as document analyses, show that the medium’s construction of reality is anything but unconditioned. On the contrary, due to the fundamental role of film funding and public television in the agent constellations intertwined with social structures that shape the film production process in Germany, the medium’s key communicators are confronted with expectations that go far beyond economic parameters. More precisely, the article reveals that German filmmaking reflects a political dimension, and expresses hierarchies and constraints that prompt struggles for legitimate meaning and challenge any autonomous practice in the field.

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Hoshino, Masashi. "Humphrey Jennings's ‘Film Fables’: Democracy and Image in The Silent Village." Modernist Cultures 15, no. 2 (2020): 133–54. http://dx.doi.org/10.3366/mod.2020.0286.

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This essay explores modernism's aesthetic and political implications through examining the works of Humphrey Jennings. The essay takes as a starting point the tension inherent to the democratic aesthetic of Mass Observation between the individual observers and the editors who write up. This tension can be effectively examined in terms of what Jacques Rancière calls ‘film fables’: the Aristotelian ‘fable’ of dramatic action and cinema's ‘fable’ of egalitarian treatment of ‘passive’ images. The essay argues that the paradox between the two ‘fables’ can be observed in Jennings's works, especially in his essays on Thomas Gray, his ‘report’ poems, and The Silent Village (1943), a dystopian propaganda film set in a Welsh village invaded by Nazis Germany. By looking at these works, the essay illustrates how the utopian longing for ‘pure art’ in modernism is related to the impossible idea of ‘democracy’.

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Tan, Siu-Lan, Matthew P. Spackman, and Elizabeth M. Wakefield. "The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene." Music Perception 34, no. 5 (2017): 605–23. http://dx.doi.org/10.1525/mp.2017.34.5.605.

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Previous studies have shown that pairing a film excerpt with different musical soundtracks can change the audience’s interpretation of the scene. This study examined the effects of mixing the same piece of music at different levels of loudness in a film soundtrack to suggest diegeticmusic (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly, varying the loudness (and resulting timbre) of the same piece of music produced greater differences in viewers’ interpretations of the film scene and characters than switching to a different music track. This finding is of theoretical and practical interest as changes in loudness and timbre are among the primary post-production modifications sound editors make to differentiate “source music” from “dramatic score” in motion pictures, and the effects on viewers have rarely been empirically investigated.

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Carter, William H., and Kate Padgett-Walsh. "Introduction: On the ethics of debt." Finance and Society 2, no. 1 (2016): 1. http://dx.doi.org/10.2218/finsoc.v2i1.1660.

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This special issue stems from a 2015 conference on the ‘Ethics of Debt’, organised by the guest editors and held at Iowa State University. Three themes emerged from the conference and are represented in the articles and documentary film selected for the special issue. The first concerns representations of debt in art and literature. The second theme demonstrates how debt arises and functions in specific contexts. The final theme addresses moral and ethical responses to debt within society.

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Murphy, Robert. "Roy Perkins and Martin Stollery, British Film Editors: ‘The Heart of the Movie’." Journal of British Cinema and Television 3, no. 1 (2006): 184–87. http://dx.doi.org/10.3366/jbctv.2006.3.1.184.

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30

Loftin, Greg. "Writing-for-the-cut: What can screenwriters learn from film editors about storytelling?" Journal of Screenwriting 9, no. 1 (2018): 85–102. http://dx.doi.org/10.1386/josc.9.1.85_1.

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31

Caston, Emily. "The Pioneers Get Shot: Music Video, Independent Production and Cultural Hierarchy in Britain." Journal of British Cinema and Television 16, no. 4 (2019): 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.

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This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music video producers, as did the Musicians’ Union, and consequently music video producers emerged from the 1980s with virtually no protection of their rights. The ACTT's issue was new video technology which it opposed. It also opposed offline editing on video tape because it would lead to redundancies of film editors and potentially required fewer post-production crew. The MU's issue was royalty payments to session musicians and lip synch. The music video industry has functioned as a crucial R&D sector and incubator for new talent and new technologies in the British film and television industries as a whole, without experiencing any of the financial rewards, cultural status or copyright protections of the more esteemed ‘screen arts’.

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Bryant, John. "Rewriting Moby-Dick: Politics, Textual Identity, and the Revision Narrative." PMLA/Publications of the Modern Language Association of America 125, no. 4 (2010): 1043–60. http://dx.doi.org/10.1632/pmla.2010.125.4.1043.

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The study of textual evolution, or revision as a textual phenomenon, requires a form of fluid-text editing that not only gives readers access to the textual identities that constitute the versions of a work but also makes the revision process witnessable by generating revision sequences and revision narratives for every revision event. Traditional editorial approaches that mix versions in the editing of a work compromise the integrity of textual identities, and the problem of mixing versions is demonstrated in three examples of the way editors and critics (in the context of orientalist and colonialist discourses) have changed the text of, or rewritten, Herman Melville's Moby-Dick: Edward Said's mistaking John Huston and Ray Bradbury's film ending for Melville's, the British expurgations that modulate Queequeg's homosexuality to preclude the idea of homosexual domesticity and marriage, and the British editors' conversion of Queequeg's Christianity (and modern editors' perpetuation of the unwanted conversion). These historical and modern cases show that readers, sometimes despite themselves, revise texts materially in ways that mirror their desire and the ways of power. Editing the rewriting of a text like Moby-Dick in a digital critical archive would preserve all versions and generate revision narratives that textualize the otherwise invisible dynamics of revision in a culture. With its capacity to edit fluid texts, digital humanities scholarship is well situated to expand the discourse on the dynamics of textual evolution into the literary and cultural criticism of the twenty-first century.

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Liu, C., J. Srinivasan, and R. G. Kelly. "Editors' Choice—Electrolyte Film Thickness Effects on the Cathodic Current Availability in a Galvanic Couple." Journal of The Electrochemical Society 164, no. 13 (2017): C845—C855. http://dx.doi.org/10.1149/2.1641713jes.

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Browne, Ray B. "Lights, Camera, History: Portraying the Past in Film by Richard Francaviglia and Jerry Rodnitzky, Editors." Journal of American Culture 30, no. 3 (2007): 345–46. http://dx.doi.org/10.1111/j.1542-734x.2007.00578.x.

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Cutshaw, Debra B. "Film Noir: Light and Shadow AlainSilver and JamesUrsini, Editors. Applause Theatre and Cinema Books, 2017." Journal of American Culture 41, no. 2 (2018): 227–28. http://dx.doi.org/10.1111/jacc.12884.

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Troxell, Jenelle. "“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (2019): 63–95. http://dx.doi.org/10.1215/02705346-7772387.

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This article examines the origin myth of the feminist film journal Close Up, namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse (The Joyless Street, 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing. By analyzing Joyless Street through the lens of Close Up, I demonstrate how Bryher and H.D. anticipate the development of trauma theory, which emerged in the early 1990s. Unlike traditional, often totalizing, applications of psychoanalysis (which emphasize notions of spectator desire and lack), the Close Up writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared cultural symptoms, which women often experienced in isolation. Through their sustained analysis of film melodrama, the Close Up writers demonstrate that the war, beyond its devastating effects on combatants, also impacted the (female) civilian population—resulting in Close Up’s call for a critical film culture that speaks to that experience.

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Collard, Christophe. "Remodelling homologies." English Text Construction 10, no. 1 (2017): 6–20. http://dx.doi.org/10.1075/etc.10.1.01col.

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The November 1997 issue of Index magazine featured a rather unusual piece by avantgardist John Jesurun, which apparently had surprised even the editors – and this despite having commissioned the contribution themselves. Building on the already troubled conversion from James M. Cain’s 1941 novel Mildred Pierce to the 1945 film produced by Jerry Wald via multiple screenwriters and many more rewrites, this essay approaches the theme of betrayal so conspicuous in both works less from the narrative angle than from a processual angle inspired by the principle of incommensurability. To this end, it juxtaposes the ‘classical’ adaptation from the Hollywood studio era with Jesurun’s experimental reimagining of the betrayal theme as a homology-based remodelling.

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Stollery, M. "Transformation and Enhancement: Film Editors and Theatrical Adaptations in British Cinema of the 1930s and 1940s." Adaptation 3, no. 1 (2009): 1–20. http://dx.doi.org/10.1093/adaptation/app011.

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Andriano-Moore, Stephen. "The Motion Picture Editors Guild Treatment of the Film Sound Membership: Enforcing Status Quo for Hollywood’s Post-Production Sound Craft." Labor Studies Journal 45, no. 3 (2020): 273–95. http://dx.doi.org/10.1177/0160449x20912337.

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The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the union does not sufficiently protect sound practitioners from employer exploitation, contributes to the alienation of sound practitioners from their work, and constraints the level of and recognition for creative contributions. These actions are seen as perpetuating the low status of sound practitioners and the sound craft, which weakens the power of the union.

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Patwardhan, Anand. "Anand Patwardhan’s Chronicles of Socio-political Realities." ANTYAJAA: Indian Journal of Women and Social Change 1, no. 2 (2016): 257–74. http://dx.doi.org/10.1177/2455632717690602.

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Probably India’s best-known documentary film-maker Anand Patwardhan, for close to four decades now, has been raking the country’s political consciousness through his films, which delve into the crux of India’s social and political lives. In this piece, the editors have put together, with Patwardhan’s permission, his writings from his blog ( http://patwardhan.com/wp/ ) on the state atrocities upon Dalits in Maharashtra, the protests through poems and songs by a young group of Dalit activists from Pune—the Kabir Kala Manch (KKM)—and the satyagraha for the freedom of expression by its leaders like Sheetal Sathe; on the Supreme Court judgment that failed the Narmada Bachao Andolan as well as the belief in the justice system, making irrelevant a whole body of evidence built by the Andolan over the years that underlined the huge financial and human costs of the Sardar Sarovar dam project; and on the whole climate of intolerance that was behind the attack on M. F. Husain for his depiction of Hindu goddess Saraswati. This piece also includes a commentary by Alex Napier on Patwardhan’s documentary of the Narmada Bachao Andolan, drawn from Patwardhan’s blog. These are important social commentaries of our times.

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Kelly, Lori Duin. "Queer Love in Film and Television: Critical Essays PamelaDemory and ChristopherPullen, Editors. New York: Palgrave Macmillan, 2013." Journal of American Culture 37, no. 2 (2014): 244–45. http://dx.doi.org/10.1111/jacc.12191.

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Mahar, Karen Ward. "True Womanhood in Hollywood: Gendered Business Strategies and the Rise and Fall of the Woman Filmmaker, 1896–1928." Enterprise & Society 2, no. 1 (2001): 72–110. http://dx.doi.org/10.1093/es/2.1.72.

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Women flourished as producers, directors, screenwriters, and editors in the first quarter-century of the film industry. But by 1925 their presence in all but screenwriting was severely diminished. The argument of this essay is that the process of gendering the industry ultimately closed studio doors to female filmmakers. As studios moved from the artistic and entrepreneurial stage, conducive to the perceived qualities of women, to the corporate stage, the needs of the industry became masculinized and women were excluded. This process is explored by examining the assumptions regarding gender inherited by the early movie industry and the context in which gender was discussed within the industry, and by asking whether explicit assumptions about the fitness of women and men were ever factors in determining what and who a filmmaker should be.

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Kmet, Nicholas. "Remote Control: Collaborative Scoring and the Question of Authorship." Revue musicale OICRM 5, no. 2 (2018): 1–14. http://dx.doi.org/10.7202/1054145ar.

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Perhaps the most interesting – and controversial – aspect of Hans Zimmer’s Remote Control Productions is the collaborative workflow that many of the film scores that pass through the Santa Monica studio are produced under. While Zimmer and business partner Steven Kofsky have taken great pains in interviews to emphasize the independence of composers working at the Santa Monica studio – Kofsky has said that “these composers are independent, have their own businesses, and secure their own movies” – the reality is one of frequent collaboration. The website for the studio’s parent company – a joint venture between Zimmer, Kofsky, and Lorne Balfe – advertises that “clients have access to over a dozen composers and music editors;” composer collaboration is clearly a prime selling point of Zimmer’s business. An important side-effect of this process is that it has often become difficult – if not impossible – for scholars and enthusiasts to determine the authorship of individual cues within scores. It is not uncommon for as many as five composers – including some of the more prominent names at the studio – to be credited as providing additional music or filling other roles in the music department. This article examines the collaborative process practiced at Zimmer’s Remote Control Productions, and how it challenges traditional notions of authorship in relation to the Hollywood film score.

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Martin, Hugh J., and Nodir Adilov. "Editors' Preface: Changing Patterns of Demand for Magazines and Film, Valuing Television Audiences and Video Game Start-Ups." Journal of Media Economics 25, no. 4 (2012): 182–83. http://dx.doi.org/10.1080/08997764.2012.733596.

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Doyle, Robert. "Why We Fought: America's Wars in Film and History by Peter C. Rollins and John E. O'Connor, Editors." Journal of American Culture 32, no. 1 (2009): 95–96. http://dx.doi.org/10.1111/j.1542-734x.2009.00699_29.x.

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Lovell, Julia. "Finding a Place: Mainland Chinese Fiction in the 2000s." Journal of Asian Studies 71, no. 1 (2012): 7–32. http://dx.doi.org/10.1017/s0021911811002993.

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The political, economic and social changes experienced by China over the past decade have been mirrored by transformations in the literary realm. Writers, editors, critics and readers have contended with the acceleration of commercialisation, the rise of the Internet, and the Communist Party's subtly changing attitude to creative freedom. This essay examines the creative responses of three critically acclaimed generations of novelists – born between the 1950s and 1980s – to this new climate. It considers the way in which writers have become entrepreneurs, managing their own personality cults over the Internet and through media spin. It discusses widespread corruption in literary reviewing; the weaknesses in editorial standards that affect the work of even the most mature voices writing today; and the fluid way in which novelists often abandon fiction for other professions or expressive forms, such as film. Finally, it considers the limits of literary freedom in China's one-party cultural system.

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Ackermann, Bronwen J. "MPPA Welcomes a New Editor." Medical Problems of Performing Artists 31, no. 1 (2016): 59. http://dx.doi.org/10.21091/mppa.2016.1012.

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Welcome to the March 2016 edition of Medical Problems of Performing Artists, and my first editorial as new Editor-in-Chief. It is an honour to be elected to this role. I would like to first and foremost thank my predecessors in this role, Dr. Ralph Manchester and Dr. Alice Brandfonbrener, for their outstanding contributions as editors, leaving very big shoes to fill.

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Anderson, Roger. "All-Stars and Movie Stars: Sports in Film and History by Ron Briley, Michael K. Schoenecke and Deborah A. Carmichael, Editors." Journal of American Culture 32, no. 1 (2009): 77–78. http://dx.doi.org/10.1111/j.1542-734x.2009.00699_2.x.

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Bolton, Kingsley, David Graddol, and Raj Masthrie. "From the new editors." English Today 23, no. 3-4 (2007): 3–4. http://dx.doi.org/10.1017/s0266078407003021.

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WE FACE the task of editing ET with a mixture of trepidation and excitement. Trepidation because our editorial efforts will follow those of Tom McArthur who has been editor of English Today since its inception, and who has made such an immense contribution to scholarship in this field. Indeed, it is no small measure of Tom's stature and capabilities that it has been decided at least three new editors are required to take his place. We have large shoes to fill.

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Presence, Steve. "Freelance Networks, Trade Unions and Below-the-Line Solidarity in Regional Film and Television Clusters: An Interview with the Bristol Editors Network." Journal of British Cinema and Television 16, no. 2 (2019): 233–49. http://dx.doi.org/10.3366/jbctv.2019.0470.

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