Time and Tempo

by Nicholas Rombes

  • Without Words

    Although it’s too early to designate this a golden age of film editing, examples of unexpected, creative and sometimes flat-out radical cutting continue to suggest that the digital turn in cinema has always been, at its fundamental and structural level, about new possibilities for joining together images and sound. This column will explore the rhythms of editing in films that are exemplary — each in their own way — in the manipulation of time and space that is the foundation of editing. First up is the remarkable, wordless 13-minute-plus opening of Jonathan Glazer’s Under the Skin, which recalls René Clair’s…  Read more

    On Jan 21, 2015
    By on Jan 21, 2015Columns
© 2022 Filmmaker Magazine. All Rights Reserved. A Publication of The Gotham