As far as I can tell, there have been authorial studies of directors,
producers, composers, cinematographers, production designers/art
directors, perhaps even costumers, but none of editors (?!). Please
correct me if I'm wrong. Maybe this is due to editing/montage being so
central to filmmaking that it is automatically attributed to the
directorial effort. And numerous major directors either started out as
editors and/or edited their own films, Eisenstein, Welles, Lean ...
H
> Just a thought: another director perhaps worth noting/considering is
> Quentin Tarantino and his longtime editor Sally Menke (she has
> edited all of his films).
>
>
> Marcelline Block
> Princeton University
> Department of French and Italian
> 305 East Pyne Hall
> Princeton, NJ 08540
> [log in to unmask]
> On Mar 31, 2009, at 1:30 PM, Frank, Michael wrote:
>
>> as in many "creative" fields there is a craft dimension and an art
>> dimension, one involving technique or "skill" -- the other
>> involving much more than that . . . put differently, one may
>> imagine editing as a technology for carrying out a pre-existent
>> conception effectively, or one may imagine it as a rhetorical,
>> expressive, [or, pace screen, enounciative] tool
>>
>> hitchcock always cared who his editors were even though he
>> reserved for himself all decisions about what the editing would or
>> would not express
>>
>> mike
>>
>> --------------------
>> when the ship is capsizing, the first thing jettisoned is integrity
>>
>>
>> -----Original Message-----
>> From: Film-Philosophy Salon [mailto:[log in to unmask]]
>> On Behalf Of Henry M. Taylor
>> Sent: Tuesday, March 31, 2009 12:44 PM
>> To: [log in to unmask]
>> Subject: Editing, Style and Authorship
>>
>> A friend of mine, Georg Janett, perhaps Swiss film's most senior and
>> foremost film editor, once told me that editors cannot afford to have
>> a personal style in the sense of authorship. This primarily because
>> the editor's work a) primarily consists of what you DON'T see on the
>> screen, and b) is so closely tied to the requirements of a particular
>> film project and the wishes of the respective director that it would
>> be counterproductive. And yet, I remember reading somewhere - maybe
>> in
>> one of William Goldman's books (don't quote me on this) - that Dede
>> Allen was the preferred editor as far as working with a moviola was
>> concerned, in the days prior to digital cutting.
>>
>> Any views and ideas on this?
>>
>> Henry
>>
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