• during december 8 – 12: between 9:30 + 11:30 from tuesday until friday.  
• during december 15 – 19: between 9:30 + 11:30 on tuesday + wednesday  and 9:00 – 10:00 on thursday

all outstanding assignments are due friday december 12; unless other arrangements have been made.  written assignments should be submitted in paper form.  sound and image projects can be e-mailed ~ please note the course title in the subject heading of the message + title the digital file with your name and the assignment title.

Students must make a presentation on their work-in-progress, including: 1) an introduction to the project sketching its objectives and final form (verbal explanation 5%); and 2)  an audio and/or visual illustration of the work done to date (quality or representation–clarity of design and purpose 5%).  If the actual production stage has not been completed at this point in the term, audio- visual material can refer to other, existent examples of the type of work to be produced. 3) Presentations should invite feedback (questions for workshop audience about directions, decisions, etc. 5%) and offer critical reflection on the problems associated with the tasks at hand (consideration of what might have to be done, changed, revised in order to complete the project 5%).

Students can now print directly from their local CINCOM login. When you
go to print, you will be prompted for your “Novell username and password”.
Upon authentication, the job will print and your account debited. If you
do not remember your passwords Karen McRae, our lab technician can reset them.

The scratch disks will be deleted on the 2nd and 4th Friday of each month.

Work-in-progress presentations begin November 14.  All should be prepared to make a presentation on the 14th!

office hours in 3b5 are conducted by appointment ONLY: on tuesday, wednesday and thursday between 9:30 – 11:30 and friday between 9 – 10.

my office telephone number is 514-931-8731 X1007
]]> http://recourse.wordpress.com/2008/08/28/office-hours-f08/feed/ 0 cherylsimon http://recourse.wordpress.com/2008/08/14/a2728-portrait-portrayal-about-the-social-function-expressive-value-of-images-sounds/ http://recourse.wordpress.com/2008/08/14/a2728-portrait-portrayal-about-the-social-function-expressive-value-of-images-sounds/#comments Wed, 13 Aug 2008 20:14:59 +0000 cherylsimon http://cherylsimon.wordpress.com/?p=360 Continue reading →]]>

How many pictures of yourself have you seen? How many people do you know only through pictures? Photographs are so commonplace in today’s society that we can’t imagine a time when there weren’t any, when the only representations of people one encountered were paintings or etchings and these were of famous personage or religious subjects not friends or family.  The invention and industrialization of photography forever changed the way in which individuals comprehended the world and, more importantly, the ways in which they imagined their place within it. The introductory class will discuss the role of the photographic portrait in contemporary culture in relation to changing ideas about self and transformations in social roles and relations.

victorian photographs

cartes de visite

Contemporary Self-Portraiture
nan goldin

raymonde april

cindy sherman

Homework: (Wednesday class) Please read summaries of mise-en-scène + cinematography following links below. Also, read definition of vaudeville from the September 10/11 class and find an example of what might be called contemporary ‘vaudeville’ on youtube.

Foundations of Mise-en-scène

Foundations of Cinematography
]]> http://recourse.wordpress.com/2008/08/14/a2728-portrait-portrayal-about-the-social-function-expressive-value-of-images-sounds/feed/ 1 cherylsimon http://recourse.wordpress.com/2008/08/14/s04-th-screening-tarnation/ http://recourse.wordpress.com/2008/08/14/s04-th-screening-tarnation/#comments Wed, 13 Aug 2008 20:12:16 +0000 cherylsimon http://cherylsimon.wordpress.com/?p=358 Continue reading →]]> Jonathan Caouette’s first feature film, Tarnation is made entirely of imagery produced using amateur recording technologies–home movies, snapshots, photo booth pictures, etc.. A ‘tour de force’ of ‘autobiographical’ filmmaking, as well as a heartbreaking documentary on the filmmaker’s mother, the film offers striking testament to the important role amateur recording technologies play in our lives. Mostly self-recorded, Caouette’s material is typical of the non-professonial production: taken ‘on-the-fly’, casually framed, often poorly lit and focused, the pictures seem all the more truthful, certainly more urgent because of their relative ‘rawness’. Additionally, the film’s account of Jonathan’s youth and his mother’s mental illness is made even more affective because the filmmaker is so intimately connected to his subject, he is the film’s key witness and one of principle subjects. However, the film is not without some ‘false notes’. According to Caouette himself, the finished work is not a complete account of his past. Also significant: Caouette’s mother was not aware that her son was making a documentary when she appeared before the camera, nor was she asked permission to use the imagery before the film was released, both situations that give rise to some ethical concerns. Should Jonathan have asked his mother for permission before he filmed or released the finished work? Do the holes in the film’s story make the story less truthful or ‘real’.

Homework: Before next week’s class, please read one of the two reviews linked below and be prepared for a discussion of the film and the social value and ethical considerations of using amateur technologies.

“Cheap, dysfunctional family viewing” Sarah Rowland, The Montreal Mirror

“The man who was raised by a movie camera” Julie Salaman, The New York TImes

This class introduces students to pre-cinematic entertainments and technologies with a view to understanding the social function and cultural value of entertainment.

The following material  provides a background on Vaudeville and Early film as well as examples of the types of spectacle each produced.

Throughout the post you will find links to other related sites and at the end of the post links to two contemporary examples of film spectacle, one a Youtube clip of ‘animals dancing’ and another (Jana Sterbak + Stanley) an artistic reflection on the ‘spectatorial’ dynamics of popular representation 

What Is Vaudeville? 

(From Virtual Vaudeville)

Our vaudeville theatres make strong appeals to the public by offering an entertainment that amuses without taxing. To those whose minds are full of business cares and who do not feel up to following the dialogue and situations of a play which demands a certain amount of intellectual effort, vaudeville is a boon.

— New York Herald, September 3, 1893

Vaudeville was the most popular form of American entertainment from its rise in the 1880s through its demise in the 1930s. It played much the same a role in people’s lives that radio and later television would for later generations. Indeed, many early radio, television and film stars began as vaudeville performers: Bob Hope, Edgar Bergen, Abbott and Costello, the Marx Brothers, Bert Lahr and Ray Bolger (the latter two being best known today as the Cowardly Lion and the Scarecrow in the 1939 film The Wizard of Oz). Every medium-to-large size city had its own vaudeville theatre, and performers on the vaudeville circuit preformed for a national audience by traveling constantly from town to town. With its national circuits, its reliance on train transportation and the telegraph, plus its production of a mode of performance with interchangeable parts, Vaudeville was the first truly modern form of popular entertainment.

Vaudeville was variety entertainment, consisting of a highly diverse series of very short acts, or “turns.” The acts ranged from singing groups to animal acts, from comedians to contortionists, from magic tricks to short musical plays. A typical vaudeville bill consisted of approximately 13 acts, most of which were typically 6-15 minutes long. Many of the modes of performance developed in vaudeville had a profound effect on popular culture that continues into the present day. For example, many of the ethnic stereotypes prevalent in television and film — Jewish, Irish, Italian, African American — derive from the ethnic caricatures that were a mainstay of Vaudeville comedy. The comedian Frank Bush, whose act is recreated for Virtual Vaudeville, exemplifies this brand of ethnic humor.

Vaudeville appealed to a broad cross-spectrum of the public, representing every class and ethnic group. The wealthiest patrons could purchase exclusive box seats or seats in the parterre, while working class spectators could purchase inexpensive seats in the galleries. Vaudeville had something for everyone, and particular acts in the vaudeville lineup appealed differently to different groups in the audience. Irish comics and tenors, for instance, found a ready audience among the “lace curtain” Irish in the audience while WASP mothers out shopping with a child might prefer the circus-like entertainment of an animal act or juggling.

Variety entertainment emerged gradually throughout the nineteenth century, starting in circus sideshows, concert saloons, burlesque theatres, minstrel shows, and dime museum performances. These early forms of variety theatre had an unsavory reputation associated with rough-house behavior and prostitution and appealed mainly to working class men.

B.F. Keith

Producers such as Tony Pastor in 1880s and, especially, B.F. Keith and E.F. Albee in the 1890s gave birth to vaudeville by turning these earlier forms of variety theatre into “respectable” family entertainment. This transformation was not an easy one. For example, Douglas Gilbert, in American Vaudeville (1940), describes the challenge Keith and Albee confronted when they first opened the Bijou Theatre in Philadelphia in the late 1880s:

[Boys in the gallery] screamed at acts, shouted obsene epithets at girl performers, and otherwise made life hell for actors and more orderly patrons. To curb them Albee hired two husky bouncers, strategically placed them in the gallery, and himself lectured the hoodlums during intermissions, giving pep talks in sweetness and light from the stage. His first appearance was greeted with the bird, but he persisted. “Our theaters,” he said in effect, “are for women and children and, we had hoped, gentlemen.” In a fortnight there was little trouble and gradually none at all. So Albee fired the bouncers and, having his gallery on the run, insisted that caps be removed, forbade smoking, and banned all whistling, stamping, spitting on the floor, and crunching of peanuts. (206)

In addition to domesticating rowdy spectators, Keith and Albee cleaned up the acts themselves, at one point posting a notice for performers on the bulletin board of their theatres that warned:

Don’t say ‘slob’ or ‘son-of-a-gun’ or ‘hully gee’ on this stage unless you want to be cancelled peremptorily. Do not address anyone in the audience in this manner. If you have not the ability to entertain Mr. Keith’s audiences without risk of offending them, do the best you can. Lack of talent will be less open to censure than would an insult to a patron.

Keith and Albee introduced “continuous vaudeville,” which became standard practice at the turn of the century. The performances ran non-stop all day and into the evening, allowing spectators to enter the theatre at any time and stay as long as they liked — much like turning on a television set.

Virtual Vaudeville is set in 1895 in B.F. Keith’s premiere New York vaudeville venue, the Union Square Theatre. This theatre embodied all of the practices that Keith and Albee had recently established in Boston and Philadelphia, and set the pattern for subsequent vaudeville theatres throughout the country.

History of Vaudeville on Wikipedia

View Vaudeville skits on film

Early Cinema (http://www.filmsite.org/filmh.html)

Herein is a comprehensive series of web articles/pages to survey the history of cinema (motion pictures, film, etc.), the greatest entertainment art form of the 20th century.

Innovations Necessary for the Advent of Cinema:

Optical toys, shadow shows, ‘magic lanterns,’ and visual tricks have existed for thousands of years. Many inventors, scientists, manufacturers and scientists have observed the visual phenomenon that a series of individual still pictures set into motion created the illusion of movement – a concept termed persistence of vision. This illusion of motion was first described by British physician Peter Mark Roget in 1824, and was a first step in the development of the cinema.

A number of technologies, simple optical toys and mechanical inventions related to motion and vision were developed in the early to late 19th century that were precursors to the birth of the motion picture industry:

• [A very early version of a "magic lantern" was invented in the 17th century by Athanasius Kircher in Rome. It was a device with a lens that projected images from transparencies onto a screen, with a simple light source (such as a candle).]       

• 1824 – the invention of the Thaumatrope (the earliest version of an optical illusion toy that exploited the concept of “persistence of vision” first presented by Peter Mark Roget in a scholarly article) by an English doctor named Dr. John Ayrton Paris       

• 1831 – the discovery of the law of electromagnetic induction by English scientist Michael Faraday, a principle used in generating electricity and powering motors and other machines (including film equipment)       

• 1832 – the invention of the Fantascope (also called Phenakistiscope or “spindle viewer”) by Belgian inventor Joseph Plateau, a device that simulated motion. A series or sequence of separate pictures depicting stages of an activity, such as juggling or dancing, were arranged around the perimeter or edges of a slotted disk. When the disk was placed before a mirror and spun or rotated, a spectator looking through the slots ‘perceived’ a moving picture.       

• 1834 – the invention and patenting of another stroboscopic device adaptation, the Daedalum (renamed the Zoetrope in 1867 by American William Lincoln) by British inventor William George Horner. It was a hollow, rotating drum/cylinder with a crank, with a strip of sequential photographs, drawings, paintings or illustrations on the interior surface and regularly spaced narrow slits through which a spectator observed the ‘moving’ drawings.       

• 1839 – the birth of still photography with the development of the first commercially-viable daguerreotype (a method of capturing still images on silvered, copper-metal plates) by French painter and inventor Louis-Jacques-Mande Daguerre        

• 1841 – the patenting of calotype (or Talbotype, a process for printing negative photographs on high-quality paper) by British inventor William Henry Fox Talbot 
• 1861 – the invention of the Kinematoscope, patented by Philadelphian Coleman Sellers, an improved rotating paddle machine to view (by hand-cranking) a series of stereoscopic still pictures on glass plates that were sequentially mounted in a cabinet-box        

• 1869 – the development of celluloid by John Wesley Hyatt, patented in 1870 and trademarked in 1873 – later used as the base for photographic film
• 1870 – the first demonstration of the Phasmotrope (or Phasmatrope) by Henry Renno Heyl in Philadelphia, that showed a rapid succession of still or posed photographs of dancers, giving the illusion of motion        

• 1877 – the invention of the Praxinoscope by French inventor Charles Emile Reynaud – it was a ‘projector’ device with a mirrored drum that created the illusion of movement with picture strips, a refined version of the Zoetrope with mirrors at the center of the drum instead of slots; public demonstrations of the Praxinoscope were made by the early 1890s with screenings of 15 minute ‘movies’ at his Parisian Theatre Optique       

• 1879 – Thomas Alva Edison’s first public exhibition of an efficient incandescent light bulb, later used for film projectors
  

Late 19th Century Inventions and Experiments: Muybridge, Marey, Le Prince and Eastman

Pioneering Britisher Eadweard Muybridge (1830-1904), an early photographer and inventor, was famous for his photographic loco-motion studies (of animals and humans) at the end of the 19th century (such as 1882′s published “The Horse in Motion”). In the 1870s, Muybridge experimented with instantaneously recording the movements of a galloping horse, first at a Sacramento (California) race track. In June, 1878, he successfully conducted a ‘chronophotography’ experiment in Palo Alto (California) for his wealthy San Francisco benefactor, Leland Stanford, using a multiple series of cameras to record a horse’s gallops – this conclusively proved that all four of the horse’s feet were off the ground at the same time.

Muybridge’s pictures, published widely in the late 1800s, were often cut into strips and used in a Praxinoscope, a descendant of the zoetrope device, invented by Charles Emile Reynaud in 1877. The Praxinoscope was the first ’movie machine’ that could project a series of images onto a screen. Muybridge’s stop-action series of photographs helped lead to his own 1879 invention of the Zoopraxiscope (or “zoogyroscope”, also called the “wheel of life”), a primitive motion-picture projector machine that also recreated the illusion of movement (or animation) by projecting images – rapidly displayed in succession – onto a screen from photos printed on a rotating glass disc.

True motion pictures, rather than eye-fooling ‘animations’, could only occur after the development of film (flexible and transparent celluloid) that could record split-second pictures. Some of the first experiments in this regard were conducted by Parisian innovator and physiologist Etienne-Jules Marey in the 1880s. He was also studying, experimenting, and recording bodies (most often of flying animals, such as pelicans in flight) in motion using photographic means (and French astronomer Pierre-Jules-Cesar Janssen’s “revolving photographic plate” idea).

In 1882, Marey, often claimed to be the ‘inventor of cinema,’ constructed a camera (or “photographic gun”) that could take multiple (12) photographs per second of moving animals or humans – called chronophotography or serial photography, similar to Muybridge’s work on taking multiple exposed images of running horses. [The termshooting a film was possibly derived from Marey's invention.] He was able to record multiple images of a subject’s movement on the same camera plate, rather than the individual images Muybridge had produced.

Marey’s chronophotographs (multiple exposures on single glass plates and on strips of sensitized paper – celluloid film – that passed automatically through a camera of his own design) were revolutionary. He was soon able to achieve a frame rate of 30 images. Further experimentation was conducted by French-born Louis Aime Augustin Le Prince in 1888. Le Prince used long rolls of paper covered with photographic emulsion for a camera that he devised and patented. Two short fragments survive of his early motion picture film (one of which was titled Traffic Crossing Leeds Bridge).

The work of Muybridge, Marey and Le Prince laid the groundwork for the development of motion picture cameras, projectors and transparent celluloid film – hence the development of cinema. American inventor George Eastman, who had first manufactured photographic dry plates in 1878, provided a more stable type of celluloid film with his concurrent developments in 1888 of sensitized paper roll photographic film (instead of glass plates) and a convenient “Kodak” small box camera (a still camera) that used the roll film. He improved upon the paper roll film with another invention in 1889 – perforated celluloid (synthetic plastic material coated with gelatin) roll-film with photographic emulsion.

The Birth of US Cinema: Thomas Edison and William K.L. Dickson

In the late 1880s, famed American inventor Thomas Alva Edison (1847-1931) (and his young British assistant William Kennedy Laurie Dickson (1860-1935)) in his laboratories in West Orange, New Jersey, borrowed from the earlier work of Muybridge, Marey, Le Prince and Eastman. Their goal was to construct a device for recording movement on film, and another device for viewing the film. Dickson must be credited with most of the creative and innovative developments – Edison only provided the research program and his laboratories for the revolutionary work.

Although Edison is often credited with the development of early motion picture cameras and projectors, it was Dickson, in November 1890, who devised a crude, motor-powered camera that could photograph motion pictures – called aKinetograph. This was one of the major reasons for the emergence of motion pictures in the 1890s. Edison Studios was formally known as the Edison Manufacturing Company (1894-1911), with innovations due largely to the work of Edison’s assistant Dickson in the mid-1890s.

The motor-driven camera was designed to capture movement with a synchronized shutter and sprocket system (Dickson’s unique invention) that could move the film through the camera by an electric motor. The Kinetograph used film which was 35mm wide and had sprocket holes to advance the film. The sprocket system would momentarily pause the film roll before the camera’s shutter to create a photographic frame (a still or photographic image). The formal introduction of the Kinetograph in October of 1892 set the standard for theatrical motion picture cameras still used today. However, moveable hand-cranked cameras soon became more popular, because the motor-driven cameras were heavy and bulky.

In 1891, Dickson also designed an early version of a movie-picture projector (an optical lantern viewing machine) based on the Zoetrope – called the Kinetoscope. In 1889 or 1890, Dickson filmed his first experimental Kinetoscope trial film, Monkeyshines No. 1, the only surviving film from the cylinder kinetoscope, and apparently the first motion picture ever produced on photographic film in the United States. It featured the movement of laboratory assistant Sacco Albanese, filmed with a system using tiny images that rotated around the cylinder.

The first public demonstration of motion pictures in the US using the Kinetoscope occurred at the Edison Laboratories to the Federation of Women’s Clubs on May 20, 1891, with the showing ofDickson Greeting. The very short film’s subject in the test footage was William K.L. Dickson himself, bowing, smiling and ceremoniously taking off his hat.

On Saturday, April 14, 1894, a refined version of Edison’s Kinetoscope began commercial operation. The floor-standing, box-like viewing device was basically a bulky, coin-operated, movie “peep show” cabinet for a single customer (in which the images on a continuous film loop-belt were viewed in motion as they were rotated in front of a shutter and an electric lamp-light). The Kinetoscope, the forerunner of the motion picture film projector (without sound), was finally patented on August 31, 1897 (Edison applied for the patent in 1891). The viewing device quickly became popular in carnivals, Kinetoscope parlors, amusement arcades, and sideshows for a number of years.

In early 1893, the world’s first film production studio, the Black Maria, or the Kinetographic Theater (and dubbed “The Doghouse” by Edison himself), was built on the grounds of Edison’s laboratories at West Orange, New Jersey, for the purpose of making film strips for the Kinetoscope. It was a black, tar-paper covered building/studio (with a retractable or hinged, flip-up roof to allow sunlight in), and built with a turntable to orient itself throughout the day to follow the natural sunlight.

In early May of 1893 at the Brooklyn Institute of Arts and Sciences, Edison conducted the world’s first public demonstration of films viewed through a Kinetoscope viewer and shot using the Kinetograph in the Black Maria. The exhibited 34-second film was titled Blacksmith Scene, and showed three people pretending to be blacksmiths.

The first motion pictures made in the Black Maria were deposited for copyright by Dickson at the Library of Congress in August, 1893. In early January 1894, The Edison Kinetoscopic Record of a Sneeze (aka Fred Ott’s Sneeze) was one of the first series of short films made by Dickson for the Kinetoscope viewer in Edison’s Black Maria studio with fellow assistant Fred Ott. The short five-second film was made for publicity purposes, as a series of still photographs to accompany an article in Harper’s Weekly. It was the earliest surviving, copyrighted motion picture (or “flicker”) – composed of an optical record (and medium close-up) of Fred Ott, an Edison employee, sneezing comically for the camera.

Most of the first films shot at the Black Maria included segments of magic shows, plays, vaudeville performances (with dancers and strongmen), acts from Buffalo Bill’s Wild West Show, various boxing matches and cockfights, and scantily-clad women. Most of the earliest moving images, however, were non-fictional, unedited, crude documentary, “home movie” views of ordinary slices of life – street scenes, the activities of police or firemen, or shots of a passing train. [Footnote: the 'Black Maria' studio appeared in Universal's comedy Abbott and Costello Meet the Keystone Cops (1955).]

In the early 1890s, Edison and Dickson also devised a prototype sound-film system called theKinetophonograph or Kinetophone - a precursor of the 1891 Kinetoscope with a cylinder-playing phonograph (and connected earphone tubes) to provide the unsynchronized sound. The projector was connected to the phonograph with a pulley system, but it didn’t work very well and was difficult to synchronize. It was formally introduced in 1895, but soon proved to be unsuccessful since competitive, better synchronized devices were also beginning to appear at the time. The first known (and only surviving) film with live-recorded sound made to test the Kinetophone was the 17-second Dickson Experimental Sound Film (1894-1895).

In mid-April 1894, the Holland Brothers opened the first Kinetoscope Parlor at 1155 Broadway in New York City and for the first time, they commercially exhibited movies, as we know them today, in their amusement arcade. Patrons paid 25 cents as the admission charge to view films in five kinetoscope machines placed in two rows. Young Griffo v. Battling Charles Barnett was the first ‘movie’ to be screened for a paying audience on May 20, 1895, at a storefront at 153 Broadway in NYC. The 4-minute B&W film was made by Woodville Latham and his sons Otway and Grey. The staged fight had been filmed with an Eidoloscope Camera on the roof of Madison Square Garden on May 4, 1895 between Australian boxer Albert Griffiths (Young Griffo) and Charles Barnett. Shortly thereafter, nearly 500 people became cinema’s first major audience during the showings of films with titles such as Barber Shop, Blacksmiths, Cock Fight, Wrestling, and Trapeze. Edison’s film studio was used to supply films for this sensational new form of entertainment. More Kinetoscope parlors soon opened in other cities (San Francisco, Atlantic City, and Chicago).

Early spectators in Kinetoscope parlors were amazed by even the most mundane moving images in very short films (between 30 and 60 seconds) – an approaching train or a parade, women dancing, dogs terrorizing rats, and twisting contortionists. In 1895, Edison exhibited hand-colored or tinted movies, including Annabelle, the Serpentine Dancer, in Atlanta, Georgia at the Cotton States Exhibition. In one of Edison’s 1896 films entitled The Kiss (1896), May Irwin and John C. Rice re-enacted the final scene from the Broadway play musical The Widow Jones - it was a close-up of a kiss. Disgruntled, Dickson left Edison to form his own company in 1895, called theAmerican Mutoscope Company (see below). [By the 1897 patent date of the Kinetoscope, both the camera (kinetograph) and the method of viewing films (kinetoscope) were on the decline with the advent of more modern screen projectors for larger audiences.]

Early Cinema: A Timeline

The Nickelodeon

the wikipedia short history of film

Contemporary Film Spectacle

anne friedberg’s virtual window ~ interactive

Jana Sterbak  ”From Here to There”

]]> http://recourse.wordpress.com/2008/08/14/s-1011-spectacles-spectators-vaudeville-early-film/feed/ 0 cherylsimon Zoetrope Muybridge's 1878 Horse in Motion zoopraxiscope disc Marey's pelicans in flight Marey's photographic gun Monkeyshines, No. 1 - 1889/1890 Kinetoscope Dickson Greeting - 1891 Black Maria Studio Blacksmith Scene - 1893 Fred Ott's Sneeze - 1894 Kinetoscope with Earphones - a Kinetophone Dickson Experimental Sound Film - 1894/1895 The Kiss - 1896 Annabelle, the Serpentine Dancer - 1895 250px-comiquetheatre http://recourse.wordpress.com/2008/08/14/s-1718-editing-dw-griffith-soviet-ag/ http://recourse.wordpress.com/2008/08/14/s-1718-editing-dw-griffith-soviet-ag/#comments Wed, 13 Aug 2008 20:10:54 +0000 cherylsimon http://cherylsimon.wordpress.com/?p=354 Continue reading →]]> D.W. Griffith Judith…

Dziga Vertov, Man with a Movie Camera

Editing
options for editing:

the straight cut
the fade
the dissolve
the wipe
the iris

Editing + Space
cross-cutting allows two sequences at two different locations to be presented at the same time; the effect creates suspense and speeds up the narrative.

Editing + Time
most films don’t represent real time. story time is compressed. ellipses are signalled via such methods as captions, voice-overs, wips, fade to black, the cross-fade and dissolve.

Editing and Rhythm
the length of each shot will determine the pace of the action (including changes in pace) and will affect the mood of what is taking place on screen

Matching 
shots are matched according to action, subject or subject matter. it ensures that there is a spatial-visual logic between the differently positioned shots in a scene. different devices are used for different purposes: a typical device to indicate a connection between two characters is to match their actions–a person looking a an alarm clock in one scene; another character turning their clock off in another…

Graphic Matching
a smooth visual transfer from one shot to the other–similar patterns of light + dark, or similar positioning of objects or characters

Compilation Shots
a series of shots spliced together that give a quick impression of space or time.

Montage
a rapid succession of shots juxtaposition images so that the over-all effect is greater than the individual parts

Editing and Sound
sound can establish continuity from one shot to another: connecting by musical score or sound bridges, where diegetic sound sound which belongs in the world of the film) continues from one shot to the next

The Elements of Continuity Editing
Continuity editing involves a series of film techniques that make connections between shots coherent.

180 degree rule/axis of action: a term used to describe an imaginary (straight) line drawn between protagonists in a scene. Ensuring spatial continuity and maintaining consistency of screen direction, the basic rule is to plan mise-en-scene around this line and to position the camera so that it never crosses the line.

30 degree rule: the camera position must change by 30 degrees between shots i order to avoid a jump cut. More than 30 degrees the cut will look like a new vantage point; less than 30 degrees and the it looks like the world has moved.

establishing shot: typically a scene begins with a long shot delineating the overall scene in which the scene to take place.

shot/reverse shot: conversation between characters usually use this technique. Shots establishing points of view in a two person shot. 

eye-line matching : the first shot shows a character looking off screen at something and the second shot shows the object/character being looked at.

matching on action: an action is begun with one shot and completed in another. 

re-establishing shot: after series of close-ups, re-establishing shot re-establishes setting.

Besides being an incredible musical all on its own, Singin’ in the

Rain is also a kind of tour through the history of the musical as

a genre. The film begins as an imaginary Hollywood studio is

forced to adjust to the coming of sound to motion pictures in

the 1920s. Don Lockwood (Gene Kelly) and Lina Lamount (Jean

Hagen) are stars of the silent cinema but when The Jazz Singer

(1927) hits the screen, the death knell for the silent film is

announced as audiences reject all but new talking pictures. With

the help of Cosmo Brown (Donald O’Connor) and Kathy Selden

(Debbie Reynolds), Don Lockwood convinces his producer to

create a fully developed sound musical. Lina Lamount’s voice is

a disaster and while she tries to hold onto her career, her

squeaky, crass tongue betrays her otherwise striking appearance.

In the end, it becomes clear that Kathy Selden is the voice

behind Lamount’s new found success. As the film closes, a title

card for Don Lockwood’s and Kathy Selden’s new picture

appears on a bill board somewhere in the hills of Hollywood. It

says: Singin’ in the Rain. (from The Studio System/End of the Silent Era)

Notes on: The Studio System/End of the Silent Era

screening Singing in the Rain