I detta arbete har uppfattningen av känslor via ambiensljud, effektljud och röst undersökts i en ljudberättelse. Detta har gjorts för att få en ökad uppfattning om hur ljud påverkar en situation och om det går att ersätta musiken som känslomässig anknytning till berättelsen.Ljudberättelserna är designade med tre olika känslor i fokus, glädje/lycka, stress/ spänning samt ilska. Analysen av dessa gjordes genom att intervjua 12 personer som sedan svarade på frågor baserade på Tuuris m.fl. tabell om ljuduppfattning. Därefter analyserades resultaten utifrån Michel Chions Semantic och Causal för att se var varje informant fokuserade. Sedan har svaren satts i perspektiv till två andra lyssningsmodeller, dels Walter Murch – dense clairty / clear density samt IEZA-modellen av Huiberts och van Tol.De svar som uppkom visade tydligt att rösten var det som personer fokuserade mest på då inte musik fanns att tillgå. Det framgick även att ljud som inte var tänkt att höra till händelsen i berättelsen var något som nästan alla informanter fokuserade på. Chion säger att språk är det människan lyssnar mest efter, vilket också är sant i denna undersökning.

Thesis (M.A.)--Abilene Christian University, 1996. / Includes abstract. Includes bibliographical references (leaves 81-89).

Thesis (M.A.)--Cincinnati Bible College & Seminary, 1992. / Includes abstract and vita. Includes bibliographical references (leaves 167-168).

This submission falls into two sections: a thesis and a screenplay. My thesis presents an original approach to screenwriting using storytelling dynamics found in film editing; I call this “writing-for-the-cut”. This section also contains my software experiments that hold the promise of innovative digital tools for screenwriters. In the second section I apply both my editing strategy and my software experiments in the production of an original screenplay called Rush the Sky. In the history of the screenplay, the advent of the master scene format, which gained fairly wide circulation from the early 1950s (Price 11), marked a moment of separation of the screenwriter from the film production process. Up to this point most screenwriters worked closely with studios and were steeped in the contiguous crafts of filming and editing. But the master scene format freed the script from all references to the ‘factory’ and in so doing fundamentally transformed film writing culture; now a new generation of largely non-specialists were writing for the big screen. To fill the ‘film school’ void occasioned by the loss of studio apprenticeships and mentoring, a lively market in guru screenwriting manuals emerged, particularly from around the 1970s. Taking their cue from the ‘no camera angles’ injunction on screenplays, the manual-writers tended to delineate the territory of screenwriting as a craft detached from production; in this way manual-readers have been discouraged from any serious consideration of the follow-on crafts (filming and editing) as potential modifiers of the screenplay. The perhaps unintended consequence has been that ‘manual culture’ has come to foster a view of film as a finished, projected product: we are ‘writing for cinema’. I propose an alternative strategy: the edit suite, not the cinema, is the real destination for our screenplay. This is a view of film as a constructed product: we are ‘writing for the cut’. This idea finds its roots in the lively theories and debates advanced by the early Soviet filmmakers such as Lev Kuleshov and Sergei Eisenstein in the 1910s and 1920s. For them, as Pudovkin declared “The foundation of film art is editing” (Pudovkin xiii). They viewed editing as a juxtapositional dynamic, one that engaged the inductive capacities of the audience to ‘discover’ the story. From this Hegelian notion of juxtaposition to its more nuanced application today, I identify three kinds of editorial juxtaposition that are essential to cinematic storytelling: poetry, puzzle, and kinesis. I suggest that these juxtapositions are interrelated and on axes of intensity: Poetry to Prose, Puzzle to Exposition, and Kinesis to Stasis. Finally, I identify how each of these editing terms can be adapted for use by screenwriters. In the second part of this submission, Rush the Sky is a demonstration of how the techniques of writing-for-the-cut can be applied in practice. This is a fast moving thriller in the style of British Indie films such as Trainspotting (wr: John Hodge dir: Danny Boyle1996), Sexy Beast (wrs: Louis Mellis, David Scinto dir: Johanthan Glazer 2000), and Dead Man’s Shoes (wrs: Paddy Considine, Shane Meadows dir: Shane Meadows 2004). Rush the Sky tells the story of two adrenaline-addicted lovers: Ella and Luke. Luke is a young base-jumper who has witnessed a gangland murder. Desperate to escape the mob and the police, he climbs a high mast and base-jumps into a storm cloud. Struck by lightning, he falls to earth in a coma. Ella joins forces with Luke’s feral brother Jared and together they ‘rescue’ Luke from hospital and attempt to wake him up. Rush the Sky is a non-linear story that interweaves a present-day road movie with a darkly euphoric backstory. Some of the specific editing figures I employ include parallel action, ‘split-edit’, non-linear shuffle, scene-scripted montage, and ellipsis. In the development of the treatment, I devised a hybrid writing-editing interface that allowed me to ‘mount’ and sequence the beats of my story. This is a kinetic environment where the beats are displayed as text, proxy images and film clips. In this way the familiar write/read/revise process of screenwriting moved closer to the play/watch/edit process of the cutting room. I strongly believe this approach could herald a fresh way of both composing a screenplay and ‘proving’ the cinema-worthiness of the story before filming commences.

I denna uppsats berör vi vad kontinuitetsfel är, hur de uppstår och huvudtanken med Walter Murchs klippteknik the Rule of Six. Vi undersöker hur kontinuitetsfel gällande rörelse och objekt mottages hos tittaren och relevansen av Murchs klippteknik. För att samla in svar utformades en kvalitativ enkät med frågor om hur deltagarna påverkas och tänker kring scener som innehåller kontinuitetsfel. Resultatet av undersökningen visade att en stor del av deltagarna inte märkte något kontinuitetsfel till en början. När vi informerat om vad kontinuitetsfel är och att de finns i scenerna så upptäckte alla deltagare minst ett kontinuitetsfel. Vi kunde även konstatera att Murchs klippteknik fortfarande är relevant. Resultatet har bidragit med en större förståelse av hur deltagarnas tankegång kring kontinuitetsfelen varit.

Denna uppsats applicerar teorier om klippning på tre utvalda sekvenser med split-screen för att ta fram data om vilka av Walter Murchs kriterier för klippning oftast förekommer inom split-screen, samt vilka av Karen Pearlmans tre typer av rytm som är mest applicerbara i rytmisk klippning. Under analysen granskas även användningen av dessa kriterier och rytm för att kunna dra generella slutsatser om hur klippningen påverkar scenerna, men även hur den samverkar tillsammans med split-screen. Resultatet visar att rytm är genomgående det mest förekommande elementet inom klippningen och i samverkan med split-screenen fördjupar klipparen publiken i filmens värld. Genom kreativa stilval som inte hade varit möjliga utan flera samtidiga bilder gestaltas filmens kärna via klippningen tillsammans med split-screenen. Framtiden av split-screen är fylld av potential, både i forskning och funktion inom filmmediet. Denna uppsats menar att belysa detta underutnyttjade stilgrepp och vill inspirera filmklippare framöver.

This thesis provides an overview of the engagement with the material culture of Assyria, unearthed in the Middle East from 1845 onwards by British and French archaeologists. It sets the artistic discovery of Assyria within the visual culture of the period through reference not only to painting but also to illustrated newspapers, books, journals, performances and popular entertainments. The thesis presents a more vigorous, interlinked, and widespread engagement than previous studies have indicated, primarily by providing a comprehensive corpus of artistic responses. The artistic connections between Britain and France were close. Works influenced by Assyria were published, exhibited and reviewed in the contemporary press, on both sides of the English Channel. Some artists, such as Gustave Doré, successfully maintained careers in both London and Paris. It is therefore often meaningless to speak of a wholly ‘French’ or ‘British’ reception, since these responses were coloured by artistic crosscurrents that operated in both directions, a crucial theme to be explored in this dissertation. In Britain, print culture also transported to the regions, away from large metropolitan centres, knowledge of Assyria and Assyrian-inspired art through its appeal to the market for biblical images. Assyria benefited from the explosion in graphical communication. This thesis examines the artistic response to Assyria within a chronological framework. It begins with an overview of the initial period in the 1850s that traces the first British discoveries. Chapter Two explores the different artistic turn Assyria took in the 1860s. Chapter Three deals with the French reception in the second half of the nineteenth century. Chapter Four concludes the British reception up to 1900, and Chapter Five deals with the twentieth century. The thesis contends that far from being a niche subject engaged with a particular group of artists, Assyrian art was a major rediscovery that affected all fields of visual culture in the nineteenth century.