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Digital Editing | Course MD 502

Lecturer | Maria Mohr
Teaching Assistant | Abla Mohamed



"Rather than pass the time, one must invite it in. To pass the time (to kill time, expel it): the gambler. Time spills from his every pore. – To store time as a battery stores energy: the flaneur. Finally, the third type: he who waits. He takes in the time and renders it up in altered form – that of expectation" Walter Benjamin, The Arcades Project

"The archive: if we want to know what that will have meant, we will only know in times to come. Perhaps. Not tomorrow but in times to come, later on or perhaps never. A spectral messianicity is at work in the concept of the archive and ties it like religion, like history, like science itself, to a very singular experience of the promise" Jacques Derrida, Archive Fever





Prelinger Archive Access on campus

"Prelinger Archives was founded in 1983 by Rick Prelinger in New York City. Over the next twenty years, it grew into a collection of over 60,000 "ephemeral" (advertising, educational, industrial, and amateur) films."

Prelinger PreLinger Pre-Linger

PRE-LINGERING IN THE PRELINGER ARCHIVES



Sound Archives:

• https://soundcloud.com/london-sound-survey
• https://www.freesound.org/search/?q=cat
• https://www.audioblocks.com
• http://www.freesfx.co.uk



Course Outline:

The Digital Editing Course is an introduction in the fundamental techniques and concepts of Digital Video Editing and Visual Storytelling. Students will get introduced into the basic editing principles as well as into the history of editing, montage and visual storytelling.

The concept of visual storytelling will be explored and analyzed within various time­based media applications with the emphazis on the inter­relation of image, sound and time. The course will guide students through the whole process of video editing starting with media management, the developement of narrative strategies to image sequencing and story continuity, the use and effect of sound and end with an introduction to different post-production techniques like color correction, filters, subitles etc. Students will learn to apply these concepts and methods to their own digital video projects to create unique visual stories with the use of digital technology.



Class Rules

01. No use of phones in class.

02. Drinks are allowed in class.

03. Food is NOT allowed in class.

04. Attendance of both slots is mandatory, excluding emergencies.

05. No attendance is counted for late comers.

06. Late submissions are allowed with a 10% deduction per day.



Assignments and Grading

01. Use footage from the Prelinger archive to create a short silent film. Provide the links of the footage. 25%

02. Use footage and music from the Prelinger archive to create a short music film. Provide the links of the footage and music. 25%

03. Use footage, music and words from the Prelinger archive to create a short film. 25%

04. Cinema Pecha Kucha - analyse the editing techniques of one film from the list below in 20 slides and 20 seconds per slide - and write a 500 words report about the film. 25%



Film List

	•	Citizen Kane (1941) – Editor: Robert Wise, Director: Orson Welles
	•	Roma, cittΰ aperta (1945) - E: Eraldo da Roma, D: Roberto Rossellini
	•	Rashomon (1950) - E: Akira Kurosawa; D: Akira Kurosawa
	•	Tokyo Story / Tokio Monogatari (1953) - E: Yuharu Atsuta; D: Yasujiro Ozu
	•	Cairo Station (1958) - E: Kamal Abul Ela; D: Youssef Chahine
	•	Psycho (1960) – Editor: George Tomasini, Director: Alfred Hitchcock
	•	Last Year at Marienbad (1961) – Editor: Jasmine Chasney, Henri Colpi, Director: Alain Resnais
	•	Clιo de 5 ΰ 7 (1962) - E: Janine Verneau; D: Agnθs Varda
	•	Playtime (1967) –  Editor: Gιrard Pollicand, Director: Jaques Tati
	•	Bonnie and Clyde (1967)  – Editor: Dede Allen, Director: Arthur Penn
	•	A Space Odyssey (1968) – Editor: Ray Lovejoy, Director: Stanley Kubrick
	•	Zabriskie Point (1970) - E: Franco Arcalli, Michelangelo Antonioni; D: Michelangelo Antonioni
	•	Il Conformista / The Conformist (1970) - E: Franco Arcalli; D: Bernando Bertolucci
	•	Solaris (1972) – Editor: Lyudmila Feiginova, Director: Andrei Tarkovsky
	•	Sans Soleil (1983) – Editor: Chris Marker, Director: Chris Marker
	•	Pulp Fiction (1994) – Editor: Sally Menke, Director: Quentin Tarantino
	•	Taste of Cherry (1997)  – Editor: Abbas Kiarostami, Director: Abbas Kiarostami
	•	La petite vendeuse du soleil (1999) - E: Sarah Taouss-Maton; D: Djibril Diop Mambety
	•	Adaptation (2002) – Editor: Eric Zumbrunnen, Director: Spike Jonze 
	•	My Winnipeg (2007) – Editor: John Gurdebeke,  Director: Guy Maddin
	•	About Elly (2009) – Editor: Hayedeh Safiyari, Director: Asghar Farhadi
	•	Melancholia (2011) - E: Molly Marlene Stensgaard; D: Lars von Trier
	•	Barbara (2012) - E: Bettina Bφhler; D: Christian Petzold
	•	Finding Vivian Meyer (2013) - E: Aaron Wickenden; D: John Maloof, Charlie Siskel
	•	Le Meraviglie / The Wonders (2014) - E: Marco Spoletini; D: Alice Rohrwacher

References to use for research:

	•	Montage. Sam Rohdie, Manchester University Press, Manchester: 2006
	•	Fine Cuts - The Art of European Film Editing. Roger Crittenden, Focal Press, 2006
	•	In the Blink of an Eye: A Perspective on Film Editing. Walter Murch, Foreword by Francis Ford Coppola, Silman-James Press 2001
	•	Senses of Cinema
	•	Filmsite
	•	Taste of Cinema 
	•	No Film School
	•	Every Frame a Painting
	•	Filmmaker IQ
	•	Learn About Film
	•	The Cutting Edge


Date Topic Assignments
SEP 20/21 • Introduction to the course.
• Introduction to the Prelinger archive.
• Films using found footage.
• Films Shown in Class.
• Linger in the archive.
• Bring at least 2 videos to work with.
• Come up with a theme for your film.
• Bring a working title.
SEP 27/28 • Introduction to the Pecha Kucha Assignment.
• Different Editing Techniques. PDF
• Ordering Project Folders for Editing.
• Starting Premiere.
• Sequence Settings. HD PAL
• Exporting Settings.
• Films Shown in Class.
• Bring an exported Rough Edit of your film with no sound.
OCT 04/05 • Zawya
• Cimatheque - Alternative Film Centre
• Consultations
• Films Shown in Class.
• Finish your silent film for screening.
OCT 11/12 Assignment 1 Submission -
OCT 18/19 • Introduction to Assignment 2.
• Remember Pecha Kucha.
• Example on how to analyze a film scene.
• Difference between format and codec.
• Films Shown in Class.
• Bring an exported Rough Edit of your film with sound.
OCT 25/26 Midterm Week // No Class -
NOV 01/02 • Notes on Sound. PDF
• Consultations
• Films Shown in Class.
• Work on and practice your Pecha Kucha for presentation.
NOV 08/09 Pecha Kucha Presentations
• Group 1
• Group 2
• Group 3
• Finalize your film with sound for screening.
NOV 12 Excursion to Panorama Film Festival. -
NOV 15/16 Assignment 2 Submission • Start Working on Assignment 3
• Work on the Paper for the Pecha Kucha.
NOV 22/23 Excursion Compensation // No Class -
NOV 29/30 • Screening of Sink or Swim.
• Exercise.
• Paper Submission Deadline
• Work on assignment 3 to show progress next week.
DEC 06/07 Last Class
• Consultations
• Finalize for submission with titles and credits.
DEC 15 Final Submission MABROOK!