Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969)
In the first part of this paper I establish the centrality of editing to cinema as an art form, with specific reference to Rudolph Arnheim, Andre Bazin, Jean-Luc Godard, and Gilles Deleuze. I then examine the approaches to montage editing taken by Sergio Leone and Sam Peckinpah, in The Good, The Bad...
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| Format: | Article |
| Language: | English |
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University of Edinburgh
2014-01-01
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| Series: | Forum |
| Online Access: | http://journals.ed.ac.uk/forum/article/view/689 |
| _version_ | 1797979033737101312 |
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| author | Keith Hennessey Brown |
| author_facet | Keith Hennessey Brown |
| author_sort | Keith Hennessey Brown |
| collection | DOAJ |
| description | In the first part of this paper I establish the centrality of editing to cinema as an art form, with specific reference to Rudolph Arnheim, Andre Bazin, Jean-Luc Godard, and Gilles Deleuze. I then examine the approaches to montage editing taken by Sergio Leone and Sam Peckinpah, in The Good, The Bad and The Ugly (1966) and The Wild Bunch (1969). While both filmmakers use highly visible editing techniques there are also significant differences, particularly regarding the build-up to an action sequence and the sequence itself, their preferred shots and combinations of shots, and their use of music. |
| first_indexed | 2024-04-11T05:32:29Z |
| format | Article |
| id | doaj.art-625e797da7a6470d92b81ea205376abc |
| institution | Directory Open Access Journal |
| issn | 1749-9771 |
| language | English |
| last_indexed | 2024-04-11T05:32:29Z |
| publishDate | 2014-01-01 |
| publisher | University of Edinburgh |
| record_format | Article |
| series | Forum |
| spelling | doaj.art-625e797da7a6470d92b81ea205376abc2022-12-22T16:22:37ZengUniversity of EdinburghForum1749-97712014-01-0110.2218/forum.0.689689Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969)Keith Hennessey Brown0The University of EdinburghIn the first part of this paper I establish the centrality of editing to cinema as an art form, with specific reference to Rudolph Arnheim, Andre Bazin, Jean-Luc Godard, and Gilles Deleuze. I then examine the approaches to montage editing taken by Sergio Leone and Sam Peckinpah, in The Good, The Bad and The Ugly (1966) and The Wild Bunch (1969). While both filmmakers use highly visible editing techniques there are also significant differences, particularly regarding the build-up to an action sequence and the sequence itself, their preferred shots and combinations of shots, and their use of music.http://journals.ed.ac.uk/forum/article/view/689 |
| spellingShingle | Keith Hennessey Brown Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969) Forum |
| title | Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969) |
| title_full | Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969) |
| title_fullStr | Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969) |
| title_full_unstemmed | Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969) |
| title_short | Editing in Leone's The Good, The Bad and The Ugly (1966) and Peckinpah's The Wild Bunch (1969) |
| title_sort | editing in leone s the good the bad and the ugly 1966 and peckinpah s the wild bunch 1969 |
| url | http://journals.ed.ac.uk/forum/article/view/689 |
| work_keys_str_mv | AT keithhennesseybrown editinginleonesthegoodthebadandtheugly1966andpeckinpahsthewildbunch1969 |