Editing within film is the composition of shots into a coherent scenes then form these scenes into a sequence. This used to be done manually before the digital age, but nowadays computers are used instead
Most notable editors:
Michael Kahn – won three academy awards for the following films directed by Steven Spielburg: Raiders of the Lost Ark (1981), Schindler’s List (1993), and Saving Private Ryan (1998)
Thelma Achoonmaker – won three academy awards for her work as editor for the following films directed by Martin Scorsese: Raging Bull (1981), The Aviator (2005) and The Departed (2007)
Sound editing involves the assembly and sometimes creation of sound recording to produce a final sound mix for a film.
A sound editor is different to a designer because they focus more on assembling the sounds together rather than initially creating original sound.
Notable sound editors include:
Richard King – won Academy awards for his work on Dunkirk (2017) Inception (2010) directed by Christopher Nolan
Paul N.J Ottosson – won two academy awards for his sound editing on The Hurt Locker (2008) and Zero Dark Thirty (2012) both directed by Kathryn Bigelow
Alien was released in 1979, a time where feminism was needed and had gradually grew over time. There was arguably more of a need for a strong female character back in the 1970’s, where feminism had began to pick up speed, most notably in the form of second wave feminism. Alien was a unique film, not entirely being classed a as horror, sci-fi, or thriller but rather a combination of the three. It had jump scares, gore, but it also toyed with our emotions since we felt emotionally engaged with the character of Ripley. As the majority of her crew were killed off, we followed our heroine through till the end, admiring the brave traits which set her aside form other female leads.
It is difficult to actually define what inspired Alien, since it is such a unique and individual film. Some basic ideas and principles from the film were based off old classics, scriptwriter O’Bannon drew inspiration of the alien pursuing a group from the hit 1951 horror ‘The Thing: (Christian Nyby). He also cited ‘Planet of the Vampires’ (1965, by Mario Bava) for the idea of the heroes discovering the alien
Feminist theory was influenced mainly by women studies, and second wave feminism. The latter movement was revolutionary, mainly with the concept of women taking center lead rather than just being considered an ‘other’ to men. French writer Simone de Beauvoir looked into this concept during the late 1940’s, citing in her 1949 book ‘The Second Sex’: male centered sociology was accepted as the norm. This reinforced the idea that the society was socialized into believing men were superior because society had centered around them at the time.
Inspired by the work of Beauvoir, feminist Betty Friedan objected to the depiction of women in the media and argued that women who just stayed at home were typically unhappy. This popular view spread the movement faster, leading to the need for strong, inspirational female characters to backup the popular ideas
I will be comparing the films Alien (1979, by Ridley Scott) and Happy Death Day (2017, by Christopher Landon)
My question is: ‘How are elements of the feminist film theory represented in the horror genre?’
I chose these films because they both contain a strong example of a ‘final girl’ which is a trope found typically in Slasher films. This is an element of feminist film theory, created by theorist Carol Clover. The basis of the trope, is a female character who is typically the last survivor, and faces a successful showdown with the killer or entity. Although this is usually shown in slasher films, final girls can appear in most horror or sci-fi genres.
In my study, i will explore how the main aspects of feminist film theory are represented in horror through my two film choices. In particular, i will focus on the ‘final girl’ trope because it is a main aspect of the theory and shows a unique representation of women through horror, particularly over a time period.
The lord of the rings, 2001 directed by Peter Jackson, is a good example of a film which follows the hero journey theorized by Vogler.
The ordinary world was when Frodo lived comfortably in the shire and visited Bilbo. He is introduced as a likable character of whom the audience can sympathize for and understand even early on in the film.
Gandalf then tells Frodo he must destroy the ring which is his call to adventure. This is a shakeup from the ordinary world, and the protagonist, Frodo, must face the beginnings of change
Next, Frodo is reluctant to leave the world he knows. He fears the unknown and initially refuses to accept the change
Frodo is introduced to the Fellowship of the ring by Gandalf which is his first meeting with his mentor. This is a significant relationship to show the wisdom and advice being given to Frodo which will help him develop as a character but mainly the hero of the story
The Fellowship then set out on their journey to Mount Doom. This shows them crossing the threshold, because they are leaving the ordinary world to face new threats and unfamiliarity
But in the form of enemies, they face Balrog who drags Gandalf into the pit with him. This climactic scene is one of the obstacles faced on the journey.
Frodo then sees the corruptive and dangerous power of the ring and decides to move forward alone with Sam. This is the approach where they prepare to face the danger awaiting them
Gollum then leads Frodo away from Sam to Shelob’s layer but he is saved by Sam. This is the ordeal where, near the middle of the story, enemies and fears are confronted before the final challenge
Frodo no longer wants to destroy the ring after being corrupted and consumed by it’s power. This is since he faces death by taking the power, but there is also the danger of losing it
Gollum bites off Frodo’s ring finger and jumps after it to his death. This is the road back because he is almost complete his journey but still faces danger and threats before he can finish
Frodo and Sam reunite with the Fellowship when Sauron is defeated towards the end. This is the resurrection since Frodo has been tested and the conflicts around are beginning to be resolved
Finally, Frodo leaves the Middle Earth to live in the Gray Heavens with the elves. This is not entirely the return with the elixir since Frodo’s departure is somewhat negative because he does not want to corrupt his friends with the ring so leaves only with Sam who wanted to keep his promise to Gandalf by protecting Frodo
In the 2001 film ‘Harry Potter and the Philosopher’s Stone’ directed by Chris Columbus: Propp’s theory of stock characters can be applied
Harry is the hero, because he is the protagonist carrying out the quest.
Voldemort is the villain because he is the main antagonist, and actively blocks and opposes Harry’s quest.
Dumbledore is both the donor because he provides Harry with the knowledge of his origins and magical abilities. He is also the dispatcher because he sends Harry on his quest.
The helpers are Ron and Hermione because they aid the hero, Harry, throughout the film.
The princess can be considered Ginny because she is the object of Harry’s affections.
Draco is the false hero because he disrupts Harry’s success by making false claims.
An insert shot is a shot of part of a scene as filmed from a different angle or focal length from the master shot. Below are a few different examples of an insert shot from some films
This is a clip showing an insert shot from the 2007 film ‘Into the Wild’, directed by Sean Penn
Montage of insert shots (also with cutaways) and them being explained
The shot reverse shot used in spider man is effective because it establishes the scene and shows the conversation occurring between the two characters. the 180 degree rule is not broken, and the technique is utilized here to full effect because of its technicality
