Answer each question individually. 1. How does a film’s editing contribute to its success or failure? What is the relationship between a finished film and the tempo the editing creates? How does editing create a film’s rhythm? 2. Objects, people, and ambient sounds can make up a film’s sound effects. How do these contribute to the film? Identify a film in which objects, people, and ambient sounds were convincing. Can silence be considered a sound? 3. Can you discuss some more recent films that are in keeping with David Puttnam’s philosophy of “shaping values”? 4. What are the key principles a cinemtographer uses when he or she shoots a feature film? Are they different from those principles used for other forms of film like docunemtaries? 5. What is the most salient element you take from Hitchcock’s editing philosophy as he expresses it in this interview? 6. What is the essential device Eisenstein uses to create montage that conveys more than dialogue or still pictures alone? Can you think of an example of montage from a film you know (besides Psycho )? How is it similar to or different from Eisenstein’s example?

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Answer each question individually. 1. How does a film’s editing contribute to its success or failure? What is the relationship between a finished film and the tempo the editing creates? How does editing create a film’s rhythm? 2. Objects, people, and ambient sounds can make up a film’s sound effects. How do these contribute to the film? Identify a film in which objects, people, and ambient sounds were convincing. Can silence be considered a sound? 3. Can you discuss some more recent films that are in keeping with David Puttnam’s philosophy of “shaping values”? 4. What are the key principles a cinemtographer uses when he or she shoots a feature film? Are they different from those principles used for other forms of film like docunemtaries? 5. What is the most salient element you take from Hitchcock’s editing philosophy as he expresses it in this interview? 6. What is the essential device Eisenstein uses to create montage that conveys more than dialogue or still pictures alone? Can you think of an example of montage from a film you know (besides Psycho )? How is it similar to or different from Eisenstein’s example?

Answer each question individually.      

  1. How does a film's editing contribute to its success or failure? What is the relationship between a finished film and the tempothe editing creates? How does editing create a film's rhythm?
  2. Objects, people, and ambient sounds can make up a film's sound effects. How do these contribute to the film? Identify a film in which objects, people, and ambient sounds were convincing. Cansilence be considered a sound?
  3. Can you discuss some more recent films that are in keeping with David Puttnam's philosophy of "shaping values"?
  4. What are the key principles a cinemtographer uses when he or she shoots a feature film? Are they different from those principles used for other forms of film like docunemtaries?
  5. What is the most salient element you take from Hitchcock's editing philosophy as he expresses it in this interview?
  6. What is the essential device Eisenstein uses to create montage that conveys more than dialogue or still pictures alone? Can you think of an example of montage from a film you know (besides Psycho)? How is it similar to or different from Eisenstein's example?

Answer each question individually.

 

 

 

  1. How does a film’s editing contribute to its success or failure? What is the relationship between a finished film and the tempothe editing creates? How does editing create a film’s rhythm?
  2. Objects, people, and ambient sounds can make up a film’s sound effects. How do these contribute to the film? Identify a film in which objects, people, and ambient sounds were convincing. Cansilence be considered a sound?
  3. Can you discuss some more recent films that are in keeping with David Puttnam’s philosophy of “shaping values”?
  4. What are the key principles a cinemtographer uses when he or she shoots a feature film? Are they different from those principles used for other forms of film like docunemtaries?
  5. What is the most salient element you take from Hitchcock’s editing philosophy as he expresses it in this interview?
  6. What is the essential device Eisenstein uses to create montage that conveys more than dialogue or still pictures alone? Can you think of an example of montage from a film you know (besides Psycho)? How is it similar to or different from Eisenstein’s example?

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