134-682: Shirish Kunder (born 24 May 1973) is an Indian filmmaker and film editor. After working as an editor on 21 films starting with Champion (2000), Kunder made his screenwriting and directorial debut with Jaan-E-Mann (2006). He is married to choreographer and film director Farah Khan whom he met while working on her 2004 film Main Hoon Na . Kunder was born on 24 May 1973 in Mangalore , Karnataka and brought up in Mumbai , Maharashtra. He studied Electronics & Telecommunications Engineering at
268-591: A China Mission Station , made around the same time in 1900. The first shot shows the gate to the mission station from the outside being attacked and broken open by Chinese Boxer rebels , then there is a cut to the garden of the mission station where a pitched battle ensues. An armed party of British sailors arrived to defeat the Boxers and rescue the missionary's family. The film used the first " reverse angle " cut in film history. James Williamson concentrated on making films taking action from one place shown in one shot to
402-415: A Telescope , in which the main shot shows street scene with a young man tying the shoelace and then caressing the foot of his girlfriend, while an old man observes this through a telescope. There is then a cut to close shot of the hands on the girl's foot shown inside a black circular mask, and then a cut back to the continuation of the original scene. Even more remarkable was James Williamson 's Attack on
536-508: A balance between literal continuity and perceived continuity. For instance, editors may condense action across cuts in a non-distracting way. A character walking from one place to another may "skip" a section of floor from one side of a cut to the other, but the cut is constructed to appear continuous so as not to distract the viewer. Early Russian filmmakers such as Lev Kuleshov (already mentioned) further explored and theorized about editing and its ideological nature. Sergei Eisenstein developed
670-682: A closeup of a hand pulling a fire alarm. The film comprised a continuous narrative over seven scenes, rendered in a total of nine shots. He put a dissolve between every shot, just as Georges Méliès was already doing, and he frequently had the same action repeated across the dissolves. His film, The Great Train Robbery (1903), had a running time of twelve minutes, with twenty separate shots and ten different indoor and outdoor locations. He used cross-cutting editing method to show simultaneous action in different places. These early film directors discovered important aspects of motion picture language: that
804-611: A coin-operated peep-box Electrotachyscope model were manufactured by Siemens & Halske in Berlin and sold internationally. Nearly 34,000 people paid to see it at the Berlin Exhibition Park in the summer of 1892. Others saw it in London or at the 1893 Chicago World's Fair . On 25 November 1894, Anschütz introduced a Electrotachyscope projector with a 6x8 meter screening in Berlin. Between 22 February and 30 March 1895,
938-545: A combination of some or all of these techniques, and other visual effects . Before the introduction of digital production, a series of still images were recorded on a strip of chemically sensitized celluloid ( photographic film stock ), usually at a rate of 24 frames per second. The images are transmitted through a movie projector at the same rate as they were recorded, with a Geneva drive ensuring that each frame remains still during its short projection time. A rotating shutter causes stroboscopic intervals of darkness, but
1072-474: A contract that called for an annual salary of one million dollars. From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders . In the United States, much of the film industry is centered around Hollywood, California . Other regional centers exist in many parts of the world, such as Mumbai -centered Bollywood ,
1206-424: A cut, the subsequent cuts are supervised by one or more producers, who represent the production company or movie studio . There have been several conflicts in the past between the director and the studio, sometimes leading to the use of the " Alan Smithee " credit signifying when a director no longer wants to be associated with the final release. The final cut is the last stage of post-production editing and represents
1340-421: A day or two to formulate their opinions. Despite this, critics have an important impact on the audience response and attendance at films, especially those of certain genres . Mass marketed action , horror , and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film and the assessment of the director's and screenwriters' work that makes up
1474-417: A discontinuous sequence for stylistic or narrative effect. The technique of continuity editing, part of the classical Hollywood style, was developed by early European and American directors, in particular, D.W. Griffith in his films such as The Birth of a Nation and Intolerance . The classical style embraces temporal and spatial continuity as a way of advancing the narrative, using such techniques as
SECTION 10
#17327904292131608-540: A few decades before it was successfully combined with a method to record series of sequential images in real-time. In 1878, Eadweard Muybridge eventually managed to take a series of photographs of a running horse with a battery of cameras in a line along the track and published the results as The Horse in Motion on cabinet cards . Muybridge, as well as Étienne-Jules Marey , Ottomar Anschütz and many others, would create many more chronophotography studies. Muybridge had
1742-428: A film together, cut off film slates or edit dialogue scenes. A film editor must creatively work with the layers of images, story, dialogue, music, pacing, as well as the actors' performances to effectively "re-imagine" and even rewrite the film to craft a cohesive whole. Editors usually play a dynamic role in the making of a film. An editor must select only the most quality shots, removing all unnecessary frames to ensure
1876-409: A film. Editors possess a unique creative power to manipulate and arrange shots, allowing them to craft a cinematic experience that engages, entertains, and emotionally connects with the audience. Film editing is a distinct art form within the filmmaking process, enabling filmmakers to realize their vision and bring stories to life on the screen. According to writer-director Preston Sturges : [T]here
2010-551: A flashing soda can during a screening). These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide. Sub-industries can spin off from film, such as popcorn makers, and film-related toys (e.g., Star Wars figures ). Sub-industries of pre-existing industries may deal specifically with film, such as product placement and other advertising within films. The terminology used for describing motion pictures varies considerably between British and American English . In British usage,
2144-505: A higher truth, synthesis. He argued that conflict was the basis of all art, and never failed to see montage in other cultures. For example, he saw montage as a guiding principle in the construction of " Japanese hieroglyphics in which two independent ideographic characters ('shots') are juxtaposed and explode into a concept. Thus: He also found montage in Japanese haiku , where short sense perceptions are juxtaposed and synthesized into
2278-764: A more dynamic and engaging experience for the viewer. The development of scene construction through mise-en-scène , editing, and special effects led to more sophisticated techniques that can be compared to those utilized in opera and ballet. The French New Wave movement of the late 1950s and 1960s also embraced the montage technique, with filmmakers such as Jean-Luc Godard and François Truffaut using montage to create distinctive and innovative films. This approach continues to be influential in contemporary cinema, with directors employing montage to create memorable sequences in their films. In contemporary cinema, montage continues to play an essential role in shaping narratives and creating emotional resonance. Filmmakers have adapted
2412-495: A new meaning, as in this example: (枯朶に烏のとまりけり秋の暮) — Matsuo Basho As Dudley Andrew notes, "The collision of attractions from line to line produces the unified psychological effect which is the hallmark of haiku and montage." Continuity editing, developed in the early 1900s, aimed to create a coherent and smooth storytelling experience in films. It relied on consistent graphic qualities, balanced composition, and controlled editing rhythms to ensure narrative continuity and engage
2546-425: A new section or sequence within a film. This technique can be used to convey a narrative or to create an emotional or intellectual effect by juxtaposing different shots, often for the purpose of condensing time, space, or information. Montage can involve flashbacks , parallel action, or the interplay of various visual elements to enhance the storytelling or create symbolic meaning . The concept of montage emerged in
2680-400: A noted Russian actor and intercut the shot with a shot of a bowl of soup, then with a child playing with a teddy bear, then with a shot an elderly woman in a casket. When he showed the film to people they praised the actor's acting—the hunger in his face when he saw the soup, the delight in the child, and the grief when looking at the dead woman. Of course, the shot of the actor was years before
2814-408: A period of time (hours, days or even months) and combined into a narrative whole. That is, The Great Train Robbery contains scenes shot on sets of a telegraph station, a railroad car interior, and a dance hall, with outdoor scenes at a railroad water tower, on the train itself, at a point along the track, and in the woods. But when the robbers leave the telegraph station interior (set) and emerge at
SECTION 20
#17327904292132948-466: A projection before 1882. He then further developed the device into the Théâtre Optique which could project longer sequences with separate backgrounds, patented in 1888. He created several movies for the machine by painting images on hundreds of gelatin plates that were mounted into cardboard frames and attached to a cloth band. From 28 October 1892 to March 1900 Reynaud gave over 12,800 shows to
3082-413: A quarter of a second, one will get a jolt. There is one other requirement: the two shots must be approximate of the same tone value. If one cuts from black to white, it is jarring. At any given moment, the camera must point at the exact spot the audience wishes to look at. To find that spot is absurdly easy: one has only to remember where one was looking at the time the scene was made. Assistant editors aid
3216-562: A relationship between the content in the separate shots in the minds of the viewer. It is this relationship that makes all film storytelling possible. In a simple example, if a person is shown looking out a window, whatever the next shot shows, it will be regarded as the view the person was seeing.) Each scene was a single stationary shot with the action occurring before it. The scenes were later broken up into multiple shots photographed from different distances and angles. Other techniques such as camera movement were developed as effective ways to tell
3350-409: A series of short shots that are edited into a sequence to condense narrative. It is usually used to advance the story as a whole (often to suggest the passage of time), rather than to create symbolic meaning. In many cases, a song plays in the background to enhance the mood or reinforce the message being conveyed. One famous example of montage was seen in the 1968 film 2001: A Space Odyssey , depicting
3484-526: A source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in
3618-415: A story with film. Until sound film became commercially practical in the late 1920s, motion pictures were a purely visual art , but these innovative silent films had gained a hold on the public imagination. Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit
3752-401: A sudden impact or a violent moment. On the other hand, lengthening or adding seconds to a shot can allow for audience reaction or to accentuate an action. The length of shots can also be used to establish a rhythmic pattern, such as creating a steady beat or gradually slowing down or accelerating the tempo. The third dimension is the spatial relationship between shot A and shot B. Editing allows
3886-1312: A system of editing that was unconcerned with the rules of the continuity system of classical Hollywood that he called Intellectual montage . Alternatives to traditional editing were also explored by early surrealist and Dada filmmakers such as Luis Buñuel (director of the 1929 Un Chien Andalou ) and René Clair (director of 1924's Entr'acte which starred famous Dada artists Marcel Duchamp and Man Ray ). Filmmakers have explored alternatives to continuity editing, focusing on graphic and rhythmic possibilities in their films. Experimental filmmakers like Stan Brakhage and Bruce Conner have used purely graphic elements to join shots, emphasizing light, texture, and shape rather than narrative coherence. Non-narrative films have prioritized rhythmic relations among shots, even employing single-frame shots for extreme rhythmic effects. Narrative filmmakers, such as Busby Berkeley and Yasujiro Ow, have occasionally subordinated narrative concerns to graphic or rhythmic patterns, while films influenced by music videos often feature pulsating rhythmic editing that de-emphasizes spatial and temporal dimensions. The French New Wave filmmakers such as Jean-Luc Godard and François Truffaut and their American counterparts such as Andy Warhol and John Cassavetes also pushed
4020-687: A time through "peep show" devices such as the Electrotachyscope , Kinetoscope and the Mutoscope . Not much later, exhibitors managed to project films on large screens for theatre audiences. The first public screenings of films at which admission was charged were made in 1895 by the American Woodville Latham and his sons, using films produced by their Eidoloscope company, by the Skladanowsky brothers and by
4154-531: A total of circa 7,000 paying customers came to view a 1.5-hour show of some 40 scenes at a 300-seat hall in the old Reichstag building in Berlin. Émile Reynaud already mentioned the possibility of projecting the images of the Praxinoscope in his 1877 patent application. He presented a praxinoscope projection device at the Société française de photographie on 4 June 1880, but did not market his praxinoscope
Shirish Kunder - Misplaced Pages Continue
4288-516: A total of over 500,000 visitors at the Musée Grévin in Paris. By the end of the 1880s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras , which could photograph a rapid sequence of images using only one lens, allowed action to be captured and stored on a single compact reel of film. Movies were initially shown publicly to one person at
4422-474: A valid fine art . André Bazin reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality, not in its differences from reality, and this gave rise to realist theory . More recent analysis spurred by Jacques Lacan 's psychoanalysis and Ferdinand de Saussure 's semiotics among other things has given rise to psychoanalytic film theory , structuralist film theory , feminist film theory , and others. On
4556-447: A wrong cut or needed a fresh positive print, it cost the production money and time for the lab to reprint the footage. Additionally, each reprint put the negative at risk of damage. With the invention of a splicer and threading the machine with a viewer such as a Moviola , or "flatbed" machine such as a K.-E.-M. or Steenbeck , the editing process sped up a little bit and cuts came out cleaner and more precise. The Moviola editing practice
4690-414: Is a law of natural cutting and that this replicates what an audience in a legitimate theater does for itself. The more nearly the film cutter approaches this law of natural interest, the more invisible will be his cutting. If the camera moves from one person to another at the exact moment that one in the legitimate theatre would have turned his head, one will not be conscious of a cut. If the camera misses by
4824-401: Is a shortening of the word " cinematography " and is used to refer to either filmmaking , the film industry , the overall art form, or a movie theater . The moving images of a film are created by photographing actual scenes with a motion-picture camera , by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation , or by
4958-433: Is an extremely important tool when attempting to intrigue a viewer. When done properly, a film's editing can captivate a viewer and fly completely under the radar. Because of this, film editing has been given the name “the invisible art.” On its most fundamental level, film editing is the art , technique and practice of assembling shots into a coherent sequence. The job of an editor is not simply to mechanically put pieces of
5092-426: Is an opportunity for the editor to shape the story and present their vision of how the film should unfold. It provides a solid foundation for further collaboration with the director, allowing them to assess the initial assembly and provide feedback or guidance on the creative direction. When shooting is finished, the director can then turn his or her full attention to collaborating with the editor and further refining
5226-435: Is attributed to British film pioneer Robert W. Paul 's Come Along, Do! , made in 1898 and one of the first films to feature more than one shot. In the first shot, an elderly couple is outside an art exhibition having lunch and then follow other people inside through the door. The second shot shows what they do inside. Paul's 'Cinematograph Camera No. 1' of 1896 was the first camera to feature reverse-cranking, which allowed
5360-456: Is both a creative and a technical part of the post-production process of filmmaking . The term is derived from the traditional process of working with film which increasingly involves the use of digital technology . When putting together some sort of video composition, typically, you would need a collection of shots and footages that vary from one another. The act of adjusting the shots you have already taken, and turning them into something new
5494-411: Is having a shot that zooms in on the forehead of an actor with an expression of silent reflection that cuts to a shot of a younger actor who vaguely resembles the first actor, indicating that the first person is remembering a past self, an edit of compositions that causes a time transition. Montage is a film editing technique in which separate pieces of film are selected, edited, and assembled to create
Shirish Kunder - Misplaced Pages Continue
5628-437: Is known as film editing. The film editor works with raw footage , selecting shots and combining them into sequences which create a finished motion picture . Film editing is described as an art or skill, the only art that is unique to cinema, separating filmmaking from other art forms that preceded it, although there are close parallels to the editing process in other art forms such as poetry and novel writing. Film editing
5762-545: Is non-linear, allowing the editor to make choices faster, a great advantage to editing episodic films for television which have very short timelines to complete the work. All film studios and production companies who produced films for television provided this tool for their editors. Flatbed editing machines were used for playback and refinement of cuts, particularly in feature films and films made for television because they were less noisy and cleaner to work with. They were used extensively for documentary and drama production within
5896-513: Is on social media and has 1.5 million Twitter followers. Kunder also wrote the humour column "Shirishly Speaking" for the Indian national daily newspaper DNA between 2016 and 2017. Kunder's fourth directorial venture is a Netflix Original Film titled Mrs Serial Killer , a crime thriller, featuring Jacqueline Fernandez , Manoj Bajpayee and Mohit Raina in the main lead roles, while Aamir Khan 's niece Zayn Marie Khan makes her acting debut in
6030-664: Is properly labeled, logged, and stored in an organized manner, making it easier for the editor to access and work with the materials efficiently. Assistant editors serve as a bridge between the editing team and other departments, facilitating communication and collaboration. They often work closely with the director, editor, visual effects artists, sound designers, and other post-production professionals, relaying information, managing deliverables, and coordinating schedules. Often assistant editors will perform temporary sound, music, and visual effects work. The other assistants will have set tasks, usually helping each other when necessary to complete
6164-426: Is safer, and is overall more efficient. Color grading is a post production process, where the editor manipulates or enhances the color of images, or environments in order to create a color tone. Doing this can alter the setting, tone, and mood of the entirety of scenes, and can enhance reactions that would otherwise have the possibility of being dull or out of place. Color grading is vital to the film editing process, and
6298-480: Is technology that allows editors to enhance a story. Today, most films are edited digitally (on systems such as Media Composer , Final Cut Pro X or Premiere Pro ) and bypass the film positive workprint altogether. In the past, the use of a film positive (not the original negative) allowed the editor to do as much experimenting as he or she wished, without the risk of damaging the original. With digital editing, editors can experiment just as much as before except with
6432-481: Is that editing gives filmmakers the power to control and manipulate the temporal aspects of storytelling in film. Between graphic, rhythmic, spatial, and temporal relationships between two shots, an editor has various ways to add a creative element to the film, and enhance the overall viewing experience. With the advent of digital editing in non-linear editing systems , film editors and their assistants have become responsible for many areas of filmmaking that used to be
6566-446: Is the greatest director , the one who invented a new language , true to the nature of film, as it captures life as a reflection, life as a dream." An example of the language is a sequence of back and forth images of one speaking actor's left profile, followed by another speaking actor's right profile, then a repetition of this, which is a language understood by the audience to indicate a conversation. This describes another theory of film,
6700-435: Is the rhythmic relationship between shot A and shot B. The duration of each shot, determined by the number of frames or length of film, contributes to the overall rhythm of the film. The filmmaker has control over the editing rhythm by adjusting the length of shots in relation to each other. Shot duration can be used to create specific effects and emphasize moments in the film. For example, a brief flash of white frames can convey
6834-445: Is the temporal relation between shot A and shot B. Editing plays a crucial role in manipulating the time of action in a film. It allows filmmakers to control the order, duration, and frequency of events, thus shaping the narrative and influencing the audience's perception of time. Through editing, shots can be rearranged, flashbacks and flash-forwards can be employed, and the duration of actions can be compressed or expanded. The main point
SECTION 50
#17327904292136968-489: Is the use of filters and adjusting the lighting in a shot. Film editing contributes to the mise en scene of a given shot. When shooting a film, you typically get shots from multiple angles. The angles at which you shoot from are all part of the film's mise en scene. In motion picture terminology , a montage (from the French for "putting together" or "assembly") is a film editing technique. There are at least three senses of
7102-439: Is unique to film. Filmmaker Stanley Kubrick was quoted as saying: "I love editing. I think I like it more than any other phase of filmmaking. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing a film to edit." Film editing is significant because it shapes the narrative structure, visual and aesthetic impact, rhythm and pacing, emotional resonance, and overall storytelling of
7236-456: The 180 degree rule , Establishing shot , and Shot reverse shot . The 180-degree system in film editing ensures consistency in shot composition by keeping relative positions of characters or objects in the frame consistent. It also maintains consistent eye-lines and screen direction to avoid disorientation and confusion for the audience, allowing for clear spatial delineation and a smooth narrative experience. Often, continuity editing means finding
7370-460: The 180-degree rule , as a visual story-telling device with an ability to place a viewer in a context of being psychologically present through the use of visual composition and editing. The " Hollywood style " includes this narrative theory, due to the overwhelming practice of the rule by movie studios based in Hollywood, California, during film's classical era. Another example of cinematic language
7504-545: The French New Wave , New German Cinema wave, Indian New Wave , Japanese New Wave , New Hollywood , and Egyptian New Wave ) and the rise of film-school-educated independent filmmakers contributed to the changes the medium experienced in the latter half of the 20th century. Digital technology has been the driving force for change throughout the 1990s and into the 2000s. Digital 3D projection largely replaced earlier problem-prone 3D film systems and has become popular in
7638-802: The Indian film industry's Hindi cinema which produces the largest number of films in the world. Though the expense involved in making films has led cinema production to concentrate under the auspices of movie studios , recent advances in affordable film making equipment have allowed independent film productions to flourish. Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns , an example being Kevin Costner 's Waterworld . Yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are
7772-438: The 1840s and commercial success since the early 1850s, raised interest in completing the photographic medium with the addition of means to capture colour and motion. In 1849, Joseph Plateau published about the idea to combine his invention of the phénakisticope with the stereoscope, as suggested to him by stereoscope inventor Charles Wheatstone , and to use photographs of plaster sculptures in different positions to be animated in
7906-427: The 1890s. Photography was introduced in 1839, but initially photographic emulsions needed such long exposures that the recording of moving subjects seemed impossible. At least as early as 1844, photographic series of subjects posed in different positions were created to either suggest a motion sequence or document a range of different viewing angles. The advent of stereoscopic photography, with early experiments in
8040-432: The 1920s, with pioneering Soviet filmmakers such as Sergei Eisenstein and Lev Kuleshov developing the theory of montage. Eisenstein's film Battleship Potemkin (1925) is a prime example of the innovative use of montage, where he employed complex juxtapositions of images to create a visceral impact on the audience. As the art of montage evolved, filmmakers began incorporating musical and visual counterpoint to create
8174-686: The 2000s is so intense, well-coordinated and well financed that reviewers cannot prevent a poorly written or filmed blockbuster from attaining market success. However, the cataclysmic failure of some heavily promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence. Other observers note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of
SECTION 60
#17327904292138308-483: The BBC's Film Department. Operated by a team of two, an editor and assistant editor, this tactile process required significant skill but allowed for editors to work extremely efficiently. Modern film editing has evolved significantly since it was first introduced to the film and entertainment industry. Some other new aspects of editing have been introduced such as color grading and digital workflows. As mentioned earlier, over
8442-508: The Dolby A noise reduction system, which became a standard in the recording industry and eliminated the hissing sound associated with earlier standardization efforts. Dolby Stereo , a revolutionary surround sound system, followed and allowed cinema designers to take acoustics into consideration when designing theaters. This innovation enabled audiences in smaller venues to enjoy comparable audio experiences to those in larger city theaters. Today,
8576-578: The SDM College of Engineering and Technology in Dharwad. Kunder worked as an electronics engineer in Motorola for four years before changing profession Kunder turned to direction with his debut film, Jaan-E-Mann . Apart from editing and composing the film score, he also wrote the film. The film starred Salman Khan , Akshay Kumar and Preity Zinta , and was released on 20 October 2006. The film
8710-458: The United States is "movie", while in Europe , "film" is preferred. Archaic terms include "animated pictures" and "animated photography". "Flick" is, in general a slang term, first recorded in 1926. It originates in the verb flicker, owing to the flickering appearance of early films. Common terms for the field, in general, include "the big screen", "the movies", "the silver screen", and "cinema";
8844-402: The United States, movie is the predominant term for the medium. Although the words film and movie are sometimes used interchangeably, film is more often used when considering artistic , theoretical , or technical aspects. The term movies more often refers to entertainment or commercial aspects, as where to go for fun evening on a date. For example, a book titled How to Understand
8978-472: The audience that they were watching a film), and by the overt use of jump cuts or the insertion of material not often related to any narrative. Three of the most influential editors of French New Wave films were the women who (in combination) edited 15 of Godard's films: Francoise Collin, Agnes Guillemot, and Cecile Decugis, and another notable editor is Marie-Josèphe Yoyotte , the first black woman editor in French cinema and editor of The 400 Blows . Since
9112-427: The audience. For example, whether an actor's costume remains the same from one scene to the next, or whether a glass of milk held by a character is full or empty throughout the scene. Because films are typically shot out of sequence, the script supervisor will keep a record of continuity and provide that to the film editor for reference. The editor may try to maintain continuity of elements, or may intentionally create
9246-483: The bad bits" and string the film together. Indeed, when the Motion Picture Editors Guild was formed, they chose to be "below the line", that is, not a creative guild, but a technical one. Women were not usually able to break into the "creative" positions; directors, cinematographers, producers, and executives were almost always men. Editing afforded creative women a place to assert their mark on
9380-479: The chronophotography works of Muybridge and Étienne-Jules Marey . In 1886, Anschütz developed the Electrotachyscope , an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5 meter wide rotating wheel that was hand-cranked to a speed of circa 30 frames per second. Different versions were shown at many international exhibitions, fairs, conventions, and arcades from 1887 until at least 1894. Starting in 1891, some 152 examples of
9514-552: The combined device. In 1852, Jules Duboscq patented such an instrument as the "Stéréoscope-fantascope, ou Bïoscope", but he only marketed it very briefly, without success. One Bïoscope disc with stereoscopic photographs of a machine is in the Plateau collection of Ghent University, but no instruments or other discs have yet been found. By the late 1850s the first examples of instantaneous photography came about and provided hope that motion photography would soon be possible, but it took
9648-423: The composition, lighting, color, and movement within each shot, as well as the transitions between them. There are several techniques used by editors to establish graphic relations between shots. These include maintaining overall brightness consistency, keeping important elements in the center of the frame, playing with color differences, and creating visual matches or continuities between shots. The second dimension
9782-458: The content of their images are cut against each other to create a new meaning not contained in the respective shots: Shot a + Shot b = New Meaning c. The association of collision montage with Eisenstein is not surprising. He consistently maintained that the mind functions dialectically, in the Hegelian sense, that the contradiction between opposing ideas (thesis versus antithesis) is resolved by
9916-403: The contours of dozens of his chronophotographic series traced onto glass discs and projected them with his zoopraxiscope in his lectures from 1880 to 1895. Anschütz made his first instantaneous photographs in 1881. He developed a portable camera that allowed shutter speeds as short as 1/1000 of a second in 1882. The quality of his pictures was generally regarded as much higher than that of
10050-423: The course of time, new technology has exponentially enhanced the quality of pictures in films. One of the most important steps in this process was transitioning from analog to digital filmmaking. By doing this, it gives the ability editors to immediately playback scenes, duplication and much more. Additionally digital has simplified and reduced the cost of filmmaking. Digital film is not only cheaper, but lasts longer,
10184-464: The cut of the film. This is the time that is set aside where the film editor's first cut is molded to fit the director's vision. In the United States, under the rules of the Directors Guild of America , directors receive a minimum of ten weeks after completion of principal photography to prepare their first cut. While collaborating on what is referred to as the "director's cut", the director and
10318-478: The definitive version of the film. It is the result of the collaborative efforts between the director, editor, and other key stakeholders. The final cut reflects the agreed-upon creative decisions and serves as the basis for distribution and exhibition. Mise en scene is the term used to describe all of the lighting, music, placement, costume design, and other elements of a shot. Film editing and Mise en scene go hand in hand with one another. A major part of film editing
10452-593: The early 2010s. " Film theory " seeks to develop concise and systematic concepts that apply to the study of film as art . The concept of film as an art-form began in 1911 with Ricciotto Canudo 's manifest The Birth of the Sixth Art . The Moscow Film School , the oldest film school in the world, was founded in 1919, in order to teach about and research film theory. Formalist film theory , led by Rudolf Arnheim , Béla Balázs , and Siegfried Kracauer , emphasized how film differed from reality and thus could be considered
10586-440: The editor and director in collecting and organizing all the elements needed to edit the film. The Motion Picture Editors Guild defines an assistant editor as "a person who is assigned to assist an Editor. His or her duties shall be such as are assigned and performed under the immediate direction, supervision, and responsibility of the editor." When editing is finished, they oversee the various lists and instructions necessary to put
10720-405: The editor go over the entire movie in great detail; scenes and shots are re-ordered, removed, shortened and otherwise tweaked. Often it is discovered that there are plot holes , missing shots or even missing segments which might require that new scenes be filmed. Because of this time working closely and collaborating – a period that is normally far longer and more intricately detailed than
10854-400: The editor to sometimes cut in temporary music, mock up visual effects and add temporary sound effects or other sound replacements. These temporary elements are usually replaced with more refined final elements produced by the sound, music and visual effects teams hired to complete the picture. The importance of an editor has become increasingly pivotal to the quality and success of a film due to
10988-463: The editor's cut is the first. An editor's cut (sometimes referred to as the "Assembly edit" or "Rough cut") is normally the first pass of what the final film will be when it reaches picture lock . The film editor usually starts working while principal photography starts. Sometimes, prior to cutting, the editor and director will have seen and discussed " dailies " (raw footage shot each day) as shooting progresses. As production schedules have shortened over
11122-419: The entire preceding film production – many directors and editors form a unique artistic bond. The goal is to align the film with the director's artistic vision and narrative objectives. The director's cut typically involves multiple iterations and discussions until both the director and editor are satisfied with the overall direction of the film. Often after the director has had their chance to oversee
11256-486: The film into its final form. Editors of large budget features will usually have a team of assistants working for them. The first assistant editor is in charge of this team and may do a small bit of picture editing as well, if necessary. Assistant editors are responsible for collecting, organizing, and managing all the elements needed for the editing process. This includes footage, sound files, music tracks, visual effects assets, and other media assets. They ensure that everything
11390-792: The film. However, this usually backfires, as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result. Journalist film critics are sometimes called film reviewers. Critics who take a more academic approach to films, through publishing in film journals and writing books about films using film theory or film studies approaches, study how film and filming techniques work, and what effect they have on people. Rather than having their reviews published in newspapers or appearing on television, their articles are published in scholarly journals or up-market magazines. They also tend to be affiliated with colleges or universities as professors or instructors. The making and showing of motion pictures became
11524-718: The film. It released on 1 May all over the world and is one of the most watched Netflix Original Films from India. Manoj Bajpayee also bagged the best actor in a supporting role award for his brilliant portrayal of Dr. Mrityunjoy Mukerjee at the ET Brand Equity SPOTT Awards. Kunder wrote, produced, edited, and composed the original music score for the film. On 9 December 2004, Kunder married director and choreographer Farah Khan . She gave birth to their triplets (following an in vitro procedure) son Czar and daughters Diva and Anya, on 11 February 2008 at Mumbai's Jaslok hospital. Film editing Film editing
11658-434: The filmmaker to construct film space and imply a relationship between different points in space. The filmmaker can juxtapose shots to establish spatial holes or construct a whole space out of component parts. For example, the filmmaker can start with a shot that establishes a spatial hole and then follow it with a shot of a part of that space, creating an analytical breakdown. The final dimension that an editor has control over
11792-435: The filmmaking process. The history of film has included many women editors such as Dede Allen , Anne Bauchens , Margaret Booth , Barbara McLean , Anne V. Coates , Adrienne Fazan , Verna Fields , Blanche Sewell and Eda Warren . Post-production editing may be summarized by three distinct phases commonly referred to as the editor's cut , the director's cut , and the final cut . There are several editing stages and
11926-399: The footage completely transferred to a computer hard drive. When the film workprint had been cut to a satisfactory state, it was then used to make an edit decision list (EDL). The negative cutter referred to this list while processing the negative, splitting the shots into rolls, which were then contact printed to produce the final film print or answer print . Today, production companies have
12060-410: The future of sound in film remains uncertain, with potential influences from artificial intelligence , remastered audio, and personal viewing experiences shaping its development. However, it is clear that the evolution of sound in cinema has been marked by continuous innovation and a desire to create more immersive and engaging experiences for audiences. A significant technological advancement in film
12194-522: The future of the cinema industry, and Hollywood employment has become less reliable, particularly for medium and low-budget films. Derivative academic fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism , film history , divisions of film propaganda in authoritarian governments, or psychological on subliminal effects (e.g., of
12328-493: The innovative work of D. W. Griffith in The Birth of a Nation (1915) and Intolerance (1916). However, in the 1920s, European filmmakers such as Eisenstein , F. W. Murnau and Fritz Lang , in many ways inspired by the meteoric wartime progress of film through Griffith, along with the contributions of Charles Chaplin , Buster Keaton and others, quickly caught up with American film-making and continued to further advance
12462-452: The last of these is commonly used, as an overarching term, in scholarly texts and critical essays. In the early years, the word "sheet" was sometimes used instead of "screen". The art of film has drawn on several earlier traditions in fields such as oral storytelling , literature , theatre and visual arts . Forms of art and entertainment that had already featured moving or projected images include: The stroboscopic animation principle
12596-408: The late 20th century Post-classical editing has seen faster editing styles with nonlinear, discontinuous action. Vsevolod Pudovkin noted that the editing process is the one phase of production that is truly unique to motion pictures. Every other aspect of filmmaking originated in a different medium than film (photography, art direction, writing, sound recording), but editing is the one process that
12730-428: The limits of editing technique during the late 1950s and throughout the 1960s. French New Wave films and the non-narrative films of the 1960s used a carefree editing style and did not conform to the traditional editing etiquette of Hollywood films. Like its Dada and surrealist predecessors, French New Wave editing often drew attention to itself by its lack of continuity, its demystifying self-reflexive nature (reminding
12864-461: The majority of most film reviews can still have an important impact on whether people decide to see a film. For prestige films such as most dramas and art films , the influence of reviews is important. Poor reviews from leading critics at major papers and magazines will often reduce audience interest and attendance. The impact of a reviewer on a given film's box office performance is a matter of debate. Some observers claim that movie marketing in
12998-513: The many time-sensitive tasks at hand. In addition, an apprentice editor may be on hand to help the assistants. An apprentice is usually someone who is learning the ropes of assisting. Film A film , also known as a movie , is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, emotions, or atmosphere through the use of moving images that are generally accompanied by sound and (less commonly) other sensory stimulations. The word "cinema"
13132-405: The medium. In the 1920s, the development of electronic sound recording technologies made it practical to incorporate a soundtrack of speech, music and sound effects synchronized with the action on the screen. The resulting sound films were initially distinguished from the usual silent "moving pictures" or "movies" by calling them "talking pictures" or "talkies." The revolution they wrought
13266-401: The mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions. The rise of European cinema was interrupted by the outbreak of World War I , while the film industry in the United States flourished with the rise of Hollywood , typified most prominently by
13400-440: The most prominent film awards in the United States, providing recognition each year to films, based on their artistic merits. There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts. Revenue in the industry is sometimes volatile due to the reliance on blockbuster films released in movie theaters . The rise of alternative home entertainment has raised questions about
13534-485: The multiple roles that have been added to their job. Early films were short films that were one long, static, and locked-down shot. Motion in the shot was all that was necessary to amuse an audience, so the first films simply showed activity such as traffic moving along a city street. There was no story and no editing. Each film ran as long as there was film in the camera. The use of film editing to establish continuity, involving action moving from one sequence into another,
13668-477: The name of the medium is film . The word movie is understood but seldom used. Additionally, the pictures (plural) is used somewhat frequently to refer to the place where movies are exhibited; in American English this may be called the movies , but that term is becoming outdated. In other countries, the place where movies are exhibited may be called a cinema or movie theatre . By contrast, in
13802-533: The narrative. By 1900, their films were extended scenes of up to five minutes long. Other filmmakers then took up all these ideas including the American Edwin S. Porter , who started making films for the Edison Company in 1901. Porter worked on a number of minor films before making Life of an American Fireman in 1903. The film was the first American film with a plot, featuring action, and even
13936-563: The next shown in another shot in films like Stop Thief! and Fire! , made in 1901, and many others. He also experimented with the close-up, and made perhaps the most extreme one of all in The Big Swallow , when his character approaches the camera and appears to swallow it. These two filmmakers of the Brighton School also pioneered the editing of the film; they tinted their work with color and used trick photography to enhance
14070-436: The number of films made in color gradually increased year after year. In the early 1950s, the proliferation of black-and-white television started seriously depressing North American theater attendance. In an attempt to lure audiences back into theaters, bigger screens were installed, widescreen processes, polarized 3D projection , and stereophonic sound were introduced, and more films were made in color, which soon became
14204-405: The option of bypassing negative cutting altogether. With the advent of digital intermediate ("DI"), the physical negative does not necessarily need to be physically cut and hot spliced together; rather the negative is optically scanned into the computer(s) and a cut list is confirmed by a DI editor. In the early years of film, editing was considered a technical job; editors were expected to "cut out
14338-454: The other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein , try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life . Film is considered to have its own language . James Monaco wrote a classic text on film theory, titled "How to Read a Film," that addresses this. Director Ingmar Bergman famously said, " Andrei Tarkovsky for me
14472-576: The other shots and he never "saw" any of the items. The simple act of juxtaposing the shots in a sequence made the relationship. Before the widespread use of digital non-linear editing systems , the initial editing of all films was done with a positive copy of the film negative called a film workprint (cutting copy in UK) by physically cutting and splicing together pieces of film. Strips of footage would be hand cut and attached together with tape and then later in time, glue. Editors were very precise; if they made
14606-446: The responsibility of others. For instance, in past years, picture editors dealt only with just that—picture. Sound, music, and (more recently) visual effects editors dealt with the practicalities of other aspects of the editing process, usually under the direction of the picture editor and director. However, digital systems have increasingly put these responsibilities on the picture editor. It is common, especially on lower budget films, for
14740-523: The rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first, they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and sales boomed. The overwhelming public verdict in favor of color
14874-492: The same dreams and hurts, then it deserves to be called great. — Roger Ebert (1986) Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media. Film critics working for newspapers, magazines , and broadcast media mainly review new releases. Normally they only see any given film once and have only
15008-629: The same film footage to be exposed several times and thereby to create super-positions and multiple exposures . One of the first films to use this technique, Georges Méliès 's The Four Troublesome Heads from 1898, was produced with Paul's camera. The further development of action continuity in multi-shot films continued in 1899–1900 at the Brighton School in England, where it was definitively established by George Albert Smith and James Williamson . In that year, Smith made As Seen Through
15142-426: The screen image does not need to show a complete person from head to toe and that splicing together two shots creates in the viewer's mind a contextual relationship. These were the key discoveries that made all non-live or non live-on-videotape narrative motion pictures and television possible—that shots (in this case, whole scenes since each shot is a complete scene) can be photographed at widely different locations over
15276-646: The shot is clean. Sometimes, auteurist film directors edit their own films, for example, Akira Kurosawa , Bahram Beyzai , Steven Soderbergh , and the Coen brothers . According to “Film Art, An Introduction”, by Bordwell and Thompson, there are four basic areas of film editing that the editor has full control over. The first dimension is the graphic relations between a shot A and shot B. The shots are analyzed in terms of their graphic configurations, including light and dark, lines and shapes, volumes and depths, movement and stasis. The director makes deliberate choices regarding
15410-602: The spoken words, music, and other sounds ) runs along a portion of the film exclusively reserved for it, and was not projected. Contemporary films are usually fully digital through the entire process of production, distribution, and exhibition. The name "film" originally referred to the thin layer of photochemical emulsion on the celluloid strip that used to be the actual medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including "picture", "picture show", "moving picture", "photoplay", and "flick". The most common term in
15544-588: The start of man's first development from apes to humans. Another example that is employed in many films is the sports montage. The sports montage shows the star athlete training over a period of time, each shot having more improvement than the last. Classic examples include Rocky and the Karate Kid. The word's association with Sergei Eisenstein is often condensed—too simply—into the idea of "juxtaposition" or into two words: "collision montage," whereby two adjacent shots that oppose each other on formal parameters or on
15678-510: The street, and the view from the front of a trolley as it traveled a city's Main Street. According to legend, when a film showed a locomotive at high speed approaching the audience, the audience panicked and ran from the theater. Around the turn of the 20th century, films started stringing several scenes together to tell a story. (The filmmakers who first put several shots or scenes discovered that, when one shot follows another, that act establishes
15812-445: The television threat emerged in the 1940s and 1950s, the film industry needed to innovate to attract audiences. In terms of sound technology, this meant the development of surround sound and more sophisticated audio systems, such as Cinerama's seven-channel system. However, these advances required a large number of personnel to operate the equipment and maintain the sound experience in theaters. In 1966, Dolby Laboratories introduced
15946-438: The term: Although film director D. W. Griffith was not part of the montage school, he was one of the early proponents of the power of editing — mastering cross-cutting to show parallel action in different locations, and codifying film grammar in other ways as well. Griffith's work in the teens was highly regarded by Lev Kuleshov and other Soviet filmmakers and greatly influenced their understanding of editing. Kuleshov
16080-451: The traditional montage technique to suit the evolving aesthetics and storytelling styles of modern cinema. As the medium of film continues to evolve, montage remains an integral aspect of visual storytelling, with filmmakers finding new and innovative ways to employ this powerful technique. If a movie can illuminate the lives of other people who share this planet with us and show us not only how different they are but, how even so, they share
16214-564: The various countries of Europe to buy their equipment and photograph, export, import, and screen additional product commercially. The Oberammergau Passion Play of 1898 was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had
16348-403: The viewer does not notice the interruptions due to flicker fusion . The apparent motion on the screen is the result of the fact that the visual sense cannot discern the individual images at high speeds, so the impressions of the images blend with the dark intervals and are thus linked together to produce the illusion of one moving image. An analogous optical soundtrack (a graphic recording of
16482-589: The viewer to reach certain conclusions about the action in a film. Montage works because viewers infer meaning based on context. Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways because they had different ideas of montage. Eisenstein regarded montage as a dialectical means of creating meaning. By contrasting unrelated shots he tried to provoke associations in the viewer, which were induced by shocks. But Eisenstein did not always do his own editing, and some of his most important films were edited by Esfir Tobak. A montage sequence consists of
16616-399: The water tower, the audience believes they went immediately from one to the other. Or that when they climb on the train in one shot and enter the baggage car (a set) in the next, the audience believes they are on the same train. Sometime around 1918, Russian director Lev Kuleshov did an experiment that proves this point. (See Kuleshov Experiment ) He took an old film clip of a headshot of
16750-407: The years, this co-viewing happens less often. Screening dailies give the editor a general idea of the director's intentions. Because it is the first pass, the editor's cut might be longer than the final film. The editor continues to refine the cut while shooting continues, and often the entire editing process goes on for many months and sometimes more than a year, depending on the film. The editor's cut
16884-420: The – arguably better known – French brothers Auguste and Louis Lumière with ten of their own productions. Private screenings had preceded these by several months, with Latham's slightly predating the otherss'. The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques . Typical films showed employees leaving a factory gate, people walking in
17018-419: Was Joker , which he wrote, produced, directed, edited and composed the film score. The film starred Akshay Kumar , Sonakshi Sinha and Shreyas Talpade , and was released on 31 August 2012. Kunder's third directorial venture was an 18-minute short film titled Kriti , a psychological thriller, featuring Manoj Bajpayee , Radhika Apte and Neha Sharma . It was released to YouTube on 22 June 2016. Kunder
17152-410: Was among the first to theorize about the relatively young medium of the cinema in the 1920s. For him, the unique essence of the cinema — that which could be duplicated in no other medium — is editing. He argues that editing a film is like constructing a building. Brick-by-brick (shot-by-shot) the building (film) is erected. His often-cited Kuleshov Experiment established that montage can lead
17286-488: Was clear. After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with the usual exceptions made only at the insistence of "star" filmmakers such as Peter Bogdanovich and Martin Scorsese . The decades following the decline of the studio system in the 1960s saw changes in the production and style of film. Various New Wave movements (including
17420-421: Was critically acclaimed for its innovative visual narrative style. He was a co-producer of Tees Maar Khan , along with Twinkle Khanna and Ronnie Screwvala for which he also co-wrote with his brother Ashmith Kunder. Kunder edited the film and composed its title track. The film starred Akshay Kumar , Katrina Kaif and Akshaye Khanna , and was released on 24 December 2010. . Kunder's second directorial venture
17554-549: Was introduced in 1833 with the stroboscopic disc (better known as the phénakisticope ) and later applied in the zoetrope (since 1866), the flip book (since 1868), and the praxinoscope (since 1877), before it became the basic principle for cinematography. Experiments with early phénakisticope-based animation projectors were made at least as early as 1843 and publicly screened in 1847. Jules Duboscq marketed phénakisticope projection systems in France from c. 1853 until
17688-947: Was swift. By 1930, silent film was practically extinct in the US and already being referred to as "the old medium." The evolution of sound in cinema began with the idea of combining moving images with existing phonograph sound technology. Early sound-film systems, such as Thomas Edison's Kinetoscope and the Vitaphone used by Warner Bros ., laid the groundwork for synchronized sound in film. The Vitaphone system, produced alongside Bell Telephone Company and Western Electric , faced initial resistance due to expensive equipping costs, but sound in cinema gained acceptance with movies like Don Juan (1926) and The Jazz Singer (1927). American film studios, while Europe standardized on Tobis-Klangfilm and Tri-Ergon systems. This new technology allowed for greater fluidity in film, giving rise to more complex and epic movies like King Kong (1933). As
17822-458: Was the introduction of "natural color," where color was captured directly from nature through photography, as opposed to being manually added to black-and-white prints using techniques like hand-coloring or stencil-coloring. Early color processes often produced colors that appeared far from "natural". Unlike the rapid transition from silent films to sound films, color's replacement of black-and-white happened more gradually. The crucial innovation
17956-485: Was the three-strip version of the Technicolor process, first used in animated cartoons in 1932. The process was later applied to live-action short films, specific sequences in feature films, and finally, for an entire feature film, Becky Sharp, in 1935. Although the process was expensive, the positive public response, as evidenced by increased box office revenue, generally justified the additional cost. Consequently,
#212787