Are you investigating Eisenstein's notion of parallel montage and its
possible sequels in the history of film? Probably so, but just in case I
wanted to add Battleship Potemkin and October. They are great examples of
parallel montage (someone already mention Strike). In the famous "July
days" or br
This is a very broad question, but I just saw Dunkirk last night and it was
an interesting example of parallel editing that kept jumping time, so what
you thought was parallel time turned out not to be...sometimes you went
back in time, other times forward in time, sometimes you were parallel, and
For me, one of the most interesting and exhilarating uses of parallel
editing in narrative cinema recently is from David Fincher, particularly
in THE GIRL WITH THE DRAGON TATTOO and much of the second half of GONE GIRL.
edo
On 11/21/17 9:36 AM, Cecilia Dougherty wrote:
> Stanley Kubrick’s The Kil
Brian de Palma's split screen sequences, not parallel editing in the
traditional sense but interesting variations on (inversions of?) it, as the
edit which illuminates the concurrence of events or perspectives happens
spatially rather than temporally. Two of my favs:
Phantom of the Paradise
DWG
*THE STRIKE* (1925), EISENSTEIN
All the best.
2017-11-21 15:36 GMT+01:00 Cecilia Dougherty :
> Stanley Kubrick’s The Killing - many examples.
>
> On Mon, Nov 20, 2017 at 9:42 PM Amanda Christie <
> ama...@amandadawnchristie.ca> wrote:
>
>> thank you warren…
>>
>> on both counts…
>> of
>>
I'd like to confine the responses to cinema, not television. Otherwise,
anything anyone can think of between early and contemporary cinema would be
useful. I did intend for the inquiry to be broad because I'd like as many
examples as possible. Thank you for your suggestions so far.
> On Nov 20,
Stanley Kubrick’s The Killing - many examples.
On Mon, Nov 20, 2017 at 9:42 PM Amanda Christie <
ama...@amandadawnchristie.ca> wrote:
> thank you warren…
>
> on both counts…
> of
>
> A) steering things away from the DWG
> ..&..
> B) pointing out how uselessly broad the initial question was.
>
> p
thank you warren…
on both counts…
of
A) steering things away from the DWG
..&..
B) pointing out how uselessly broad the initial question was.
please narrow it down kelsey… what are you really after?
adc
> On Nov 20, 2017, at 8:53 PM, Warren Cockerham
> wrote:
>
> The problem with Kelsey’
The problem with Kelsey’s inquiry is it’s much too broad. There are literally
millions of narrative examples in film and television. Every popular tv show is
parallel edited. Instead of listing millions of examples, is there something
more nuanced that you’re after here, Kelsey?
> On Nov 20,
yes. and the Baptism scene in The Godfather.
owen
> On Nov 20, 2017, at 7:38 PM, Dominic Angerame
> wrote:
>
> look no further than DW Griffith who developed this fully.
>
> On Mon, Nov 20, 2017 at 10:15 AM, Kelsey Velez wrote:
> I'm looking for instances of parallel editing in narrative ci
And Oscar Micheaux who appropriated the form to critique its white supremacist
roots. See WITHIN OUR GATES and Lois Weber’s SUSPENSE as early examples of
crosscutting/parallel editing that doesn’t propagate male/white supremacy. It’s
high time we stopped giving DWG all the credit. It’s not that
look no further than DW Griffith who developed this fully.
On Mon, Nov 20, 2017 at 10:15 AM, Kelsey Velez
wrote:
> I'm looking for instances of parallel editing in narrative cinema, if you
> please!
>
>
> Thanks,
>
> Kelsey
>
> ___
> FrameWorks mailing
I'm looking for instances of parallel editing in narrative cinema, if you
please!
Thanks,
Kelsey
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