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As a moving image artist searching for a new discourse that spoke to radical issues with an equally radical form, I embraced this kind of writing as it led me toward the non-narrative, unconventional grammar of experimental film as well as the self-reflexivity of the essay.My first essay film was “The House of Science: A Museum of False Facts” (1991), a personal rumination on the relationship between a woman’s body and the often-opposing institutions of art and science.My essay films, in particular, are full of association.
Besides his evocative soundtracks, Anderson uses ambient sound and foley techniques for a number of effects, from complimenting the preciousness of a moment to suddenly upending and frightening his characters.
Watch – and listen – as we demonstrate how Wes Anderson creates moments of wonder, tension, and dramatic atmosphere through his use of sound.” The video contains brief, spliced-together clips of the most sonically distinct moments from Anderson’s films: bread and cheese being sliced in “The Grand Budapest Hotel,” a mole playing piano in “Fantastic Mr.
In Contempt, Godard’s use of editing illustrates how an individual can exist separate from society.
While in Breathless, editing conveys the idea of how society can isolate an individual.
Godard creates a unique editing style in Contempt and Breathless through the combination of long takes and jump cuts.
Godard’s use of these two editing techniques express two separate ideas in regards to an individual’s place in society.
The use of jump cuts within Breathless and Contempt was an unconventional technique during the French New Wave and still is today because it violates one of the rules of Classic Hollywood Style. ...se, they are the ones being isolated and not the characters.
Jump cuts create “…discontinuities that the perceptual system will not ignore because the stimuli fall outside of the accommodation ranges for perceptual continuity, then spatial coherence breaks down” (Berliner). In the beginning, of Contempt, Paul and Camille are talking to each other but the dialogue can barely be heard. In a way, this cuts off the viewer as a voyeur but it still creates a heightened interest because the film begins after their moment of intimacy. "The Illusion of Continuity: Active Perception and the Classical Editing System." Journal of Film and Video 63.1 (2011): 44-63.
While I was shooting this film, I was also keeping a diary: “My memory of being a girl includes a “me” that is two.
I am two bodies – the body of the body and the body of the mind. This was the body that was wet with dirty liquids, holes that wouldn’t close, full of smells and curdled milk. This was assumed and only reconsidered upon my very rare attempts at jumping farther than far enough, clearing the ditch, lifting the heave-ho. This body wrapped and encircled the bones, a protective cover of flesh, just on the other side of the wall I call skin.” I will never forget a cross-country plane ride I took near the end of editing this film.