Emotional Response Through Editing

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Pages: 5
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Title: Creating an Emotional Response through Editing in Film
Student: Joshua Betts
Student No. 12026183
Course: BSc (Hons) Film Production Technology
Date: 2nd May 2017
Project Supervisor: Paul Ottey

Abstract
This document explores the history of motion picture, the fundamentals of editing, and the role of the editor to elicit an emotional response in the viewing audience. This involves describing the use of colour, the use of sound, commonly used techniques and their applications, and basic terminology. The research conducted was tested through the editing of a short film produced as a final year project.
Examples given of the techniques in practice are also included. Responsibilities undertaken and the creative decisions made by the …show more content…
The more effective and clearer the director can communicate his or her ideas, the stronger the bond will be between the departments of the production. The editor – and the editorial department – work alongside the director in the final stages of production, to assist bringing the film to its final conclusion. They work to construct, deconstruct, and meld the footage into a story that the viewer can emotionally respond to. The director and editor have to be in-sync with one another, if the film is to succeed. If that balance is shifted, so too will the outcome of the film.
Academy Award winning editor, Walter Murch, who worked alongside directors such as Francis Ford Coppola and Frank Zinnemann, simply summed up the role of the editor, stating their “job is partly to anticipate and partly to control the thought processes of the audience. To give them what they want and/or what they need just before they have to “ask” for it – to be surprising yet self evident at the same time. If you are too far behind or ahead of them, you create problems, but if you are right with them, leading them ever so slightly, the flow of events feels natural and exciting at the same time.” (Murch …show more content…
The report will also include a study of a film where the director of a film, ‘in liaison’ with its editor, are in conflict with the producing film studio on the editorial content and the ‘emotional’ outcome of the film resulting from that conflict.

Section 3 Research
The Brief History of the Motion Picture
What we recognize today as motion-pictures are very different from where they began. Motion-pictures date back as early as 1825 with the invention of devices and machines such as;
Thaumatrope (c. 1825) (shown in Figure. 1) a Victorian toy that, when spun via two attached strings, exploited the persistence of images on the retina.

Thaumatrope (Figure. 1)

Phénakistiscope (c. 1832) (shown in Figure. 2) was an animation device that created the illusion of motion.

Phénakistiscope (Figure. 2)

Daedalum ("wheel of the Devil") (c. 1834) (shown in Figure. 3) later re-patented in 1887 as Zoetrope was an improvement on the Phénakistiscope that allowed multiple viewers at the same time.

Daedalum (Figure.
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