Editing is one of my favorite things to do in the realm of film-making because, once you get past the technical elements of the editing process, it’s all about rhythm, instinct, and storytelling. At its best, it becomes a visceral experience to both edit and watch the editing. Editing is really where the film gets made. 

The Reading

For this module, read pgs. 155 - 186 in Chapter 6 – Editing of The Art of Watching Films

The Watching

Everything you’ve ever watched on any screen of any kind was edited in some way, so you really could watch anything and analyze it’s editing. However, for this module, I want you step outside your comfort zone and pay special attention to the story-through-editing of the two films you will be watching for this module: the surreal Meshes of the Afternoon (1943) by modern dancer and film-maker Maya Deren, and the Neo-noir Mulholland Drive (2001) by David Lynch. 

Meshes of the Afternoon (1943) by Maya Deren and Alexander Hammid

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This film is difficult to describe, but luckily Deren described it herself in interview. According to her, Meshes of the Afternoon  "...is concerned with the interior experiences of an individual. It does not record an event which could be witnessed by other persons. Rather, it reproduces the way in which the subconscious of an individual will develop, interpret and elaborate an apparently simple and casual incident into a critical emotional experience.” 

 

Mulholland Drive (2001) by David Lynch

71Q+bn9xGaL. SY606 This is one of my favorite Lynch films, and is narratively influenced by Meshes of the Afternoon. For this week’s questions, I want you compare and contrast these two films, both in their editing and in their narrative style. 

Note: as always, the media for this can be found in the LEH 353 - Visual Storytelling library on Plex.

 

 

The Questions