Screening List

Instructor: Robert Flowers
ARTV 1351 Digital Video

The Battleship Potemkin – 1925

- Director: Sergei M. Eisenstein


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


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


Notes: Multiple picture-in-pictures, montage and cross-cutting within a frame.

Bullitt – 1968 (Oscar for Best Film Editing)

- Director: Peter Yates


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


Notes: Cross Cutting, rhythmic flow of action

The Conversation – 1974

- Director: Francis Ford Coppola


Notes: Zoom, soundtrack (music & sound effects), dialog, complex plot, A CLASSIC

Jaws – 1975

-Director: Steven Spielberg


Notes: Look for shot that compresses depth, space ( forward tracking, zoom out). Meteor shot.

Marathon Man – 1976

- Director: John Schlesinger


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


Notes: Slow rhythm, static shots, tracking shot, dead pan

Sonic Outlaws – 1995

- Director: Craig Baldwin


Notes: Documentary about copyright infringement (sampling ect.), uses recorded television footage, and interviews

Dead Man – 1996

- Director: Jim Jarmusch


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


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


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


Notes: Low budget, shot with Sony VX2000 and Sony PD-150, “realism”

Riding Giants – 2004

- Director: Stacy Peralta


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.