Sentences with phrase «classical film editing»

Not exact matches

Warren Buckland, by contrast, picks up exactly these aspects which do not fit and argues that these films do indeed represent something new, something that is not classical at all; his edited collection, Puzzle Films: Complex Storytelling in Contemporary Cinema, offers a number of interesting perspectives on just what is new about these films (2).

According to a long - standing film - history periodization that — #yesallperiodizations — is contested and contestable, this year marks the centenary of the birth of the «classical Hollywood» style, with a set of agreed - upon conventions including continuity editing, crosscutting between parallel events unfolding at the same time, the use of close - ups to express a character's state of mind, etc..

Things we take for granted in today's films, like fancy mobile camera work and snappy editing, can be readily found here, without undermining the film and its director's distinctly classical sensibilities.

What attracted critical minds like Jacques Rivette, Eric Rohmer, and others to Nicholas Ray and his oeuvre — bored stiff as they were by the risk - averse, respectable, and ultimately neutered «cinema of quality» — was the stamp of the personal and the element of danger they discerned in his films, whether that meant the improvisatory handling of actors with a touch deft enough to coax remarkable performances out of even non-professionals; the «superior clumsiness,» cited by Rivette in «Notes on a Revolution,» resulting in «a discontinuous, abrupt technique that refuses the conventions of classical editing and continuity»; or the purely visual flourishes Ray relished — ranging from the sweeping, vertiginous helicopter - mounted shots in They Live By Night to disorienting, subjective POV compositions like the «rolling camera» during a car crash halfway through On Dangerous Ground, its very title indicating the source of Ray's critical appeal.

The film Under the Bridge - the first part of the Shanghai Redux project launched by Shi Qing + Radical Space, and Ming Wong's newly - editing version of Next Year / L'Année Prochaine / 明年 will be presented for the first time in Shanghai; the two works are similar to each other for their recreations of classical movies, shifting between reality and memory through different montages and artistic techniques, reflecting on the turn of the wheel through the cross of time and space.