A video on re-enactment, from Flaherty's arranged scenes in Nanook (#1) to Morris's stylized ones in The Thin Blue Line (#3). One hid them; the other made them the argument. End on the question your viewers can answer: when is staging honest?
By Raz Rotenberg, made with AI
Ann Collins (#12) says the opening is cut last and the ending is the easier part, found by asking subjects how the story changed them. Two editors this week describe endings found a different way.
Nels Bangerter (#53, Dick Johnson Is Dead) says the fake funeral was the first thing shot, and the team realized "it could end as well as beginning there." Gabriel Rhodes (#54, Time) closes on a sequence played in reverse, with the mother returning, chosen so she is not shown too rosily. …
Two films that put the cut on screen. Vertov's Man with a Movie Camera (#6) has no intertitles, no actors and no story; a day in Soviet cities is assembled entirely in the edit. Jonathan Rosenbaum's essay on F for Fake (#11) reads Welles's film as a documentary about fakery, one that hides small tells for a second viewing: a misspelled word in the credits, outtakes reused. …
Chad Herschberger (#13) describes cutting 78/52 from four buckets of material instead of an A-to-B arc, with interviews marked for the best takes and spread out so no single voice lectures. The editors of Fantastic Machine (#27) describe two structures running at once, a historical one from 1828 and an associative one, both found in the edit and tuned by screening for audiences. …
Made with OpenCurate.