British Kinematography (1953)

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IX BRITISH KINIMAIOGRAPHY Vol. 23, No. 1 characters are not to 'k ghost " with background seen through their bodies, the background must be suppressed over the area which they cover. In this process the foreground characters provide their own " electronic matte," and for this reason care has to be taken to control the tonal values of the foreground characters or objects. Where a black background is used on the foreground channel, no substantial area of the foreground characters must be equally black, as this tonal separation is used to provide the signal which obliterates the background picture when not required. Similarly, where socalled " white obliteration " is used, no substantial area of the foreground must be as light as the white background. Only experi ence can show how restricting these considerations will prove to be. In the demonstration of white obliteration already given the model wore a light yellow jumper and even a piece of white paper waved in front of the camera did not easily cause the process to fail. I hope that the foregoing will have shown that, although considerable progress has been made, great opportunities still lie ahead in the use of film as a contributory factor in the building of television programmes. The scope of the writer and producer can be widened enormously by the skilful introduction of film into live action and the immediacy of the television screen, paradoxically can be thereby enhanced. BOOK REVIEW Books reviewed may be seen in the Society's Library THE TECHNIQUE OF FILM EDITING. Compiled by Karel Reisz for the British Film Academy. Focal Press, Ltd., pp. 288, 30s. Though a large number of books has been published on nearly all aspects of filmcraft, those on editing have, since Pudovkin's " Film Technique," been at best very superficial in their approach. The reason for this may well be that the art of editing is very complex and one that by its lack of rules and generalisations makes a theoretical approach extremely difficult and unsatisfactory as regards both criticism and analysis. However, Mr. Karel Reisz has bravely stepped in where others have feared to tread and the result is a compilation which is as easily readable as it is instructive. For, not only has Mr. Reisz wisely solicited the aid of several of this country's leading Film Editors, whose comments alone are worth considerable attention, but he has himself assimilated and digested the essence of its technique. For instance, his analysis of a number of sequences from varying types of films shows both technical perception and an obvious affection for the job. Mr. Reisz has also avoided the trap of confining his analyses to the classic silent films and is aware of the importance of sound as an aid, rather than a hindrance to the editor. There can be few editors, either in this country or in America, who have the time or opportunity for experimental work in their own field. The average editor's job is to translate the dramatic content of the component shots of a sequence and assemble them in a form which will give full point to the director's intentions, show the stars (in the average commercial film) to the best advantage and at the same time produce a smooth and professional result. Mr. Reisz is well aware of this and it is his catholic approach and understanding of the whole complex work of the cutting room staff that should make this book appeal to the professional film maker as well as the student for whom it is intended primarily. The book is divided into three distinct sections : The History of Editing, The Practice of Editing and The Principles of Editing which, together with notes on Cutting Room Procedure, a glossary of terms and a number of illustrations of the sequences analysed, form a sound and logical basis of the theory of film editing. Although it would seem invidious to make rather petty criticisms of such an altogether excellent and unpretentious textbook, the author has a tendency to make somewhat sweeping generalisations and rules which editors themselves would undoubtedly wish to break. The weakest sections of the book are those devoted to the Sound Track, where Mr. Reisz becomes almost dogmatic, and Cutting Room Procedure which is neither as full nor as accurate as it might be, i.e. no mention of silent turnover, the assertion that post-synching takes place after the picture has been finally cut, etc. : but these are mere quibbles, for, in spite of its somewhat high price, the book is, as the dust jacket claims " a unique survey of the central creative problem of film making and as such will prove indispensable to professionals and amateurs, connoisseurs and students alike." Peter Tanner.