As the motion picture industry grew during the silent era, Hollywood borrowed the serialization of stories from magazines and the cliffhanger from popular drama to create the movie serial. […]
CineMontage explores two contrasting teams of music editors and the differing ways they worked together with their composers and music supervisors. […]
Of the many crafts essential to making movies, only editing came into existence because of the medium itself. […]
On Saturday evening, January 12, the Los Angeles Film Critics Association (LAFCA) presented its 38th Annual Awards at a gala dinner at the Intercontinental Hotel in Century City. Post-production personnel attending the celebration had a special reason to celebrate this event as LAFCA premiered its award for the year’s Best Editing. […]
Ray Zone has left for us the most comprehensive and up-to-date history of how stereoscopic film attracts us. […]
The Motion Picture Editors Guild has existed 75 years, a time period often associated with the span of a human life. It is no surprise then that the lives of some of the Guild’s retired members encompass the Guild’s entire history. […]
‘A New History of Documentary Film’ firmly establishes itself as the most thorough overview of the evolution, achievement and future of the documentary film to date. […]
As part of their ongoing effort to gain recognition and acknowledgement for picture editors, the Motion Picture Editors Guild and the American Cinema Editors (ACE) launched a Petition for the Recognition of Editors in late June. […]
A change in movie storytelling and editing was already under way when French film critic and soon-to-be film director Alexandre Astruc wrote these words in an article in the magazine Écran Français in 1948. […]
Picture editor Irving James Wilkinson has unfortunately become the most obscure of the three original founders of the Society of Motion Picture Film Editors (SMPFE). Many sources, including the Guild’s own historical records (which were cited in the story on the beginnings of the SMPFE in the JAN-FEB 12 issue of this publication) had him confused with a similarly named contemporary, the sound editor James R. Wilkinson. […]
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