MARC details
| 000 -Líder |
|---|
| fixed length control field |
03916nam a22003257a 4500 |
| 003 - Identificador del número de control |
|---|
| campo de control |
OSt |
| 005 - Fecha y hora de la última transacción |
|---|
| Campo de control |
19900107154226.0 |
| 008 - Elementos de longitud fija -- Información general |
|---|
| fixed length control field |
900107t xxu||||| |||| 00| 0 eng d |
| 035 ## - Número de control del sistema |
|---|
| Numero Cancelado/no válido |
D1079 |
| 040 ## - Fuente de catalogación |
|---|
| Agencia que realiza la transcripción |
JCR |
| 082 04 - Número de clasificación decimal Dewey |
|---|
| Clasificación |
D791.43 |
| Número del ítem |
A648c |
| 100 1# - Entrada principal -- Nombre personal |
|---|
| Nombre personal |
Apple, Wendy |
| Término relacionador |
, dir. |
| 245 14 - Mención del título |
|---|
| Título |
The cutting edge |
| Parte restante del título |
: the magic of movie editing |
| Mención de responsabilidad, etc. |
/ Wendy Apple ; Starz Encore Entertainment presents a TCEP, Inc. production ; in association with The American Cinema Editors (ACE) ; co-produced by NHK, The BBC, and AVRO ; written by Mark Jonathan Harris. |
| Medio físico |
[grabación sonora] |
| 260 ## - Publicación, distribución, etc. (Pie de imprenta) |
|---|
| Lugar de publicación, distribución, etc. |
Estados Unidos |
| Nombre del editor, distribuidor, etc. |
: Warner Bros |
| Fecha de publicación, distribución, etc. |
, 2005. |
| 300 ## - Descripción física |
|---|
| Extensión |
1 DVD film |
| 306 ## - Duración |
|---|
| Duración |
99 min. |
| 500 ## - Nota general |
|---|
| Nota general |
Directors of photography, John Bailey, Philip D. Schwartz. <br/>Narrator, Kathy Bates. <br/>Editor, Tim Tobin. <br/>Music, Nic tenBroek. |
| 505 1# - Nota de contenido con formato preestablecido |
|---|
| Nota de contenido con formato preestablecido |
Bullitt's dynamic editing, highlighted by its twisting, squealing, hill-leaping chase sequence that leaves viewers whooping and woozy, earned a 1968 Best Film Editing Oscar and helped make the film an action classic. How do film editors work this kind of magic? This fascinating program lets you in on the secrets. "What makes a movie a movie is the editing," says Zach Staenberg, Academy Award-winning* editor of the Matrix trilogy. Closeups, flashbacks, parallel action, slow motion, juxtaposition of images - these are just a few tools that make clips from Birth of a Nation to Pulp Fiction, The Battleship Potemkin to Gladiator indelible. Narrated by Kathy Bates and with interviews of a who's who of contemporary directors and editors, The Cutting Edge: The Magic of Movie Editing is, shot for shot and frame after frame, reel magic. |
| 511 ## - Nota de participante o interprete |
|---|
| Nota de participante o intérprete |
Actors: <br/>- Kathy Bates <br/>- Zach Staenberg <br/>- Jodie Foster <br/>- Michael Tronick <br/>- Anthony Minghella |
| 520 8# - Nota de resumen, etc. |
|---|
| Nota de sumario, etc. |
Editing is what makes film a film." That audacious statement is made at the beginning of this 2005 documentary about the art of film editing. After listening to many editors and directors, movie novices as well as cinephiles may agree. Kathy Bates narrates this whirlwind history of the art punctuated by dozens of scenes to illustrate the effect of film editing in heightening reality and making a visceral impact on the filmgoer. In fact, the profession seems to be run on "a gut feeling" whether it's clipping a few frames, or 20 minutes of the final act (which we learn happened with Lenny). James Cameron illustrates the importance of a frame as we see a scene from Terminator 2 with 1 frame out 24 missing (24 frames representing one second of film). Or as Quentin Tarantino states, "musicians have notes, editors have frames." It's fascinating to see how editing--the process of assembling the film after it's been shot--can save films, make performances better, and become the ultimate jigsaw puzzle. The last concept is demonstrated as we return time and again to the most well-known editor of the time, Walter Murch (Apocalypse Now, The English Patient), as he edits a few scenes from Cold Mountain in front of us. We see how he works with light, covers mistakes, and controls emotion. For those who wished for a sequel to the excellent documentary on cinematographers, Visions of Light (1993), here's the next step (although made by different folks including first-time director Wendy Apple). Now, anyone want to tackle art directors? --Doug Thomas |
| 538 ## - Nota de detalles del sistema |
|---|
| Nota de detalles del sistema |
Closed-captioned, Color, DVD, Subtitled, Widescreen, NTSC |
| 546 ## - Nota de idioma |
|---|
| Nota de idioma |
Language: English (Dolby Digital 5.1) <br/>Subtitles: English, Spanish, French. |
| 650 04 - Asiento secundario de materia--Termino temático |
|---|
| Término temático o nombre geográfico como elemento de entrada |
PELÍCULAS |
| Subdivisión general |
DOCUMENTALES |
| 700 1# - Asiento Secundario--Nombre personal |
|---|
| Nombre personal |
Harris, Mark Jonathan |
| Fechas asociadas con el nombre |
, 1941- |
| 710 ## - Asiento Secundario--Nombre corporativo |
|---|
| Nombre corporativo o de jurisdicción como elemento de entrada |
Starz Encore Entertainment (Firm) |
| 710 ## - Asiento Secundario--Nombre corporativo |
|---|
| Nombre corporativo o de jurisdicción como elemento de entrada |
TCEP (Firm) |
| 710 ## - Asiento Secundario--Nombre corporativo |
|---|
| Nombre corporativo o de jurisdicción como elemento de entrada |
American Cinema Editors |
| 942 ## - Entrada de elementos agregados (KOHA) |
|---|
| Source of classification or shelving scheme |
Dewey Decimal Classification |
| Tipo de material |
Digital Video |
