Эротические рассказы

. Читать онлайн книгу.

 -


Скачать книгу
from most jobs in filmmaking but able to work in editing departments because the creative decision making of editing was unrecognized? Or could it be that the creative decision making of editing was unrecognized because it was work done by women? (Pearlman and Heftberger 2018)

      Distributed Creativity in Film History and Practice

      Our approach to revising the narrative that effaces women is to look at the actual work that women were doing and reclassify it. Cumulatively, these case studies support the proposition that “good editing is not invisible, and neither are the women who do it” (Pearlman & Gaines 2019).

       Esfir Shub

      “A person who cannot edit should not make films at all.

      Esfir Shub (as translated by Anastasia

      Kostina 2016, 22)

      Shub began her career in the early 1920s, re-editing imported films to make them “appropriate” for Soviet audiences. “Western and American films had to be ideologically corrected, which meant changing the plot and the editing structure of the film, as well as writing new intertitles” (Shub 1927, translated in Gadassik 2018, 3). By turning celebrations of capitalism into cautionary tales about its excesses, Shub developed expertise in writing (or re-writing) through editing to create new meanings from film footage. Building on this skill, her celebrated 1927 full-length documentary The Fall of the Romanov Dynasty is made entirely in editing.

      The process of locating, sifting through, compiling, reshooting, reframing, enlarging, matching speech, action, and movement within the frame of pieces of film originally shot by many different cameramen—all of this Shub did in order to produce a coherent and fluid narrative…with documents that had been made for an entirely different, if not the opposite, purpose. (Kaganovsky 2018, 7)

      Questions arise from this brief study of Shub about why ideas of creative authorship have remained so persistently individualistic. Cultural desires for a single creative artist to laud and the economic/marketing efficiencies of recognizing a single person are not the only reasons distributed creativity is left out of film history. Both poor, overly individualist assumptions about the nature of cognition, and the element of unconscious sexism are also significant. Stollery challenges us to take the questions seriously, noting: “It is significant that it was a woman who pioneered this new genre based upon a repudiation of established notions of authorship” (2002, 96).

      Contemporary Collaborative Work of Hands, Minds, Tools, and Film Materials

      For the exercise, we gave each team the filmed material of a very short (30 second) drama scene between two people. The materials included plenty of coverage of the whole scene—wide shots, mid-shots, over the shoulder shots, and close ups. The material was from a studio shoot, so the lighting was consistent throughout. The actors and crew were professionals. Everything was in focus, and no one crossed the line. In other words, if anyone had thought that editing was just “cutting out the bad bits” they would have been disappointed. There were no “bad bits,” and there


Скачать книгу
Яндекс.Метрика