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badseed
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  • #11
  • Posted: 08/13/2018 06:48
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Whiplash is probably my favorite film this decade in regards to editing.
AfterHours
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  • #12
  • Posted: 08/13/2018 16:06
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badseed wrote:
Whiplash is probably my favorite film this decade in regards to editing.


I am undecided on this decade so far (too much I still need to see), but I liked Whiplash and can see what you mean. I might go with Dance of Reality or Tree of Life for the time being. Aronofsky's Mother is one to consider...
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badseed
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  • #13
  • Posted: 08/13/2018 17:28
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Idk, I feel like if you go with Tree of Life you might as well include most any Malick movie, which means you should include most any movie with extremely "loud" editing (Lars von Trier, Christopher Nolan and Steve McQueen [director] immediately come to mind - three completely different yet equally noticeable styles), thus disqualifying the simpler style that comes with an Ozu film.
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  • #14
  • Posted: 08/13/2018 18:06
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badseed wrote:
Idk, I feel like if you go with Tree of Life you might as well include most any Malick movie, which means you should include most any movie with extremely "loud" editing (Lars von Trier, Christopher Nolan and Steve McQueen [director] immediately come to mind - three completely different yet equally noticeable styles), thus disqualifying the simpler style that comes with an Ozu film.


Not "loud" -- just which editing contributes and generates most to its film's emotions/concepts (whether subtle, outlandish or anywhere in between). And not disqualified -- the idea is to acknowledge the best of both. Ex: Hitchcock's "flawless" constructions are not often particularly "loud" (excepting his climactic scenes) but are astonishing because of how integrated they are with his obsessions/paranoia and how thoroughly expressive they are of this -- his obsessive desire as a voyeur, to analyze, to work through the causes and effects of his plots meticulously, to piece everything together in a rigorous interlocking puzzle of circumstance and motive/psychology, to elaborate upon and obsess over the "perfect crimes" of his films -- in other words, their very construction/cutting corresponds in vivid detail and integration to the expressiveness of film and director ... I do not think Tree of Life is Malick's most successful in regards to editing -- though its best sequences are extraordinary (reminiscent of Tarkovsky's Mirror and Kubrick's 2001 and Resnais' Hiroshima Mon Amour) ... Overall though, Days of Heaven is probably his best example, but I do think it is important to acknowledge the sheer audacity and imagination it would take to cut and sequence such a film as Tree of Life in a way that maintains a compelling sense of unity/theme/poetry/emotion (despite such disparate images). I dont necessarily think I would rank it above the best examples from Ozu or Mizoguchi or Renoir ... I might but Im not sure ... but I do think its more substantial than most of what Ive seen from this decade (so far) including Whiplash (which was very good).
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  • #15
  • Posted: 08/13/2018 19:38
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Ozu's editing and images correspond to his humble and Zen-like state/meditation in the face of his characters' crises/family dramas and is significant in its own right -- I just havent decided how significant thus far so have yet to decide how highly to rank him (and others of more humble or concise styles).
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  • #16
  • Posted: 08/14/2018 19:17
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Recent updates in bold (for newer entries) or bold + italics (for those that moved up/down in ranking)
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  • #17
  • Posted: 09/03/2018 17:56
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Recent updates in bold... Still very much in-progress as I have been revisiting many films
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