Activities per year
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 language | English |
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Title of host publication | Cognitive theory and documentary film |
Editors | Catalin Brylla, Mette Kramer |
Place of Publication | London |
Publisher | Palgrave Macmillan |
Pages | 303-319 |
Number of pages | 17 |
ISBN (Electronic) | 9783319903323 |
ISBN (Print) | 9783319903316 |
DOIs | |
Publication status | Published - 2018 |
Keywords
- Film Editing
- Creative process
- Cognition
- Collaboration
- Distributed cognition
- epistemic action
- Alan Berliner
- Kate Amend
- Film Editors
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Dive into the research topics of 'Documentary editing and distributed cognition'. Together they form a unique fingerprint.Press/Media
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The Five Steps of Professional Film Editing
30/11/17
1 Media contribution
Press/Media: Public Engagement Activities
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Activities
- 1 Invited talk
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Creative Editing and Cognition
Karen Pearlman (Invited speaker)
22 Mar 2018Activity: Talk or presentation › Invited talk