Instructor: Robert Flowers
ARTV 1351 Digital Video
The Battleship Potemkin – 1925
- Director: Sergei M. Eisenstein
- USSR
Notes: Rapid “montage” editing, Odessa Steps sequence
Berlin Symphony of a Great City- 1927
- Director: Walther Ruttman
- Germany
Notes: “montage” editing, animated intro, dawn to dusk life of a city
Man With A Movie Camera – 1929
- Director: Dziga Vertov
- USSR
Notes: Rapid “montage” editing, 54 years before MTV, dawn to dusk life of a city
La Jetée– 1962
- Director: Chris Marker
- France
Notes: Short film composed entirely of B&W still imagery, time-travel plot, 12 Monkeys is a remake of. this
The Boston Strangler – 1968
- Director: Richard Fleischer
- USA
Notes: Multiple picture-in-pictures, montage and cross-cutting within a frame.
Bullitt – 1968 (Oscar for Best Film Editing)
- Director: Peter Yates
- USA
Notes: Rhythmic flow of action, soundtrack (music & sound effects), titles, the mother of all car chases, camera angles in car
Once Upon A Time In The West – 1969
- Director: Sergio Leone
- Italy
Notes: All aspects of editing, cinematography and sound, flawless rhythmic editing, titles, look at composition of subjects within the frame, transitions of time, POV shots
The French Connection – 1971
- Director: William Friedkin
- USA
Notes: Cross Cutting, rhythmic flow of action
The Conversation – 1974
- Director: Francis Ford Coppola
- USA
Notes: Zoom, soundtrack (music & sound effects), dialog, complex plot, A CLASSIC
Jaws – 1975
-Director: Steven Spielberg
-USA
Notes: Look for shot that compresses depth, space ( forward tracking, zoom out). Meteor shot.
Marathon Man – 1976
- Director: John Schlesinger
- USA
Notes: Cross Cutting, archival footage, collision of 3 individuals
Mad Max – 1979 (AFI – Australian Film Institute – Award: Best Achievement in Editing)
- Director: George Miller
- Australia
Notes: Cross Cutting, fluid flow of action = rhythmic editing, tracking and crane shots
Stranger Than Paradise – 1984
- Director: Jim Jarmusch
- USA
Notes: Slow rhythm, static shots, tracking shot, dead pan
Sonic Outlaws – 1995
- Director: Craig Baldwin
- USA
Notes: Documentary about copyright infringement (sampling ect.), uses recorded television footage, and interviews
Dead Man – 1996
- Director: Jim Jarmusch
- USA
Notes: Cross Cutting, point of view, fades, B&W, time transitions, titles
Run Lola Run – 1998
- Director: Tom Tykwer
- Germany
Notes: rapid rhythm, live-action and animation, multiple outcomes to an event
Spectres of the Spectrum – 1999
- Director: Craig Baldwin
- USA
Notes: Composed of archival, public domain, “found footage,” and shot footage.
Builds narrative by editing mix of footage and narration together. Paranoid and post-modern.
Dogtown and Z-Boys – 2001
- Director: Stacy Peralta
- USA
Notes: Documentary about the pioneering 1970s Zephyr skating team. Uses mixed –media. Amazing mix of archival, public domain, or “found footage,” and interviews.
Rapid rhythmic editing, dynamic use of still photos.
Open Water – 2004
- Director: Chris Kentis
- USA
Notes: Low budget, shot with Sony VX2000 and Sony PD-150, “realism”
Riding Giants – 2004
- Director: Stacy Peralta
- USA
Notes: Documentary. Amazing mix of archival, public domain, or “found footage,” and interviews. Narration and music. 3D/2D animated intro. Great surfing footage. Uses mixed –media. Rhythmic editing.
Fearless Freaks – 2005
- Director: Bradley Beesley
- USA/Oklahoma
Notes: Documentary about rock band the Flaming Lips. Mixed media, use of archival, public domain, or “found footage,” interviews, animation, and hand painting on film.
Arguably the best documentary of a musical group.
Primer – 2005
- Director: Shane Carruth
- USA: Texas – Addison, Dallas, Richardson
Notes: Shot here, low budget, 16mm film, simple-“low-tech” time travel story.