Documentary editing and distributed cognition

    Research output: Chapter in Book/Report/Conference proceedingChapterpeer-review

    8 Citations (Scopus)

    Abstract

    This chapter aims to reveal, from a cognitive perspective, what docu- mentary editing is and how it works as a creative action in filmmaking. It proposes that the editing of documentary film is a cognitive process of perceiving or imagining potential structure and rhythm in a mass of unscripted material and then shaping that material into a significant form.1 Further, in this process, editors, directors and the raw, uncut filmed material are all contributors to the generation of ideas. Shaping raw material into a coherent documentary film, this chapter will argue, is not work done solely in the brain; rather, it is the work of an “extended mind” (Clark and Chalmers 1998; Clark 2008) and requires a complementary activation of brain, body and the “film objects” (Vertov 1984) themselves.
    Original languageEnglish
    Title of host publicationCognitive theory and documentary film
    EditorsCatalin Brylla, Mette Kramer
    Place of PublicationLondon
    PublisherPalgrave Macmillan
    Pages303-319
    Number of pages17
    ISBN (Electronic)9783319903323
    ISBN (Print)9783319903316
    DOIs
    Publication statusPublished - 2018

    Keywords

    • Film Editing
    • Creative process
    • Cognition
    • Collaboration
    • Distributed cognition
    • epistemic action
    • Alan Berliner
    • Kate Amend
    • Film Editors

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