Ten Commandments

2661 words 11 pages
The Ten Commandments
ENG225: Introduction to Film
Instructor, Anna Morrison
December 12, 2011

The Ten Commandments
The movie the author would like to critique is probably one of the greatest movies of all time. The movie is The Ten Commandments, starring Charlton Heston, Yul Brenner, and Cecil B. DeMille. If the author were a real critic like Gene Siskel, and Roger Ebert, she would give this movie two thumbs up. The author will probably be giving her, interpretation of this movie all the way through this paper because she feels that in order to understand what’s being critiqued you have to understand the movie. Of course this is a movie that the author has seen a number of times, and every time she views it she finds something that
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Editing type: The production of this film scene, setting, and props fits the setting of the film that shows how Egypt looked and the people lived back in( B.C). The overall production of this film was great for its time period in 1956 when film makers and production didn’t have today’s technology available, to use, at that time and they still made good films for the time period of which the films were made and how they were distributed and produced. The editing type of this movie was continuity editing, and once the author tell you what continuity editing is, you will see why he chose this type of editing. “Continuity editing: Advance planning of shots so that cutting to different camera positions will maintain the illusion that everything is happening in a continuous time and space, and the audience will not be confused; sometime called invisible editing.” (https://content.ashford.edu). The film editor is responsible for putting the pieces together into a coherent whole. He or she must guide our thoughts, associations, and emotional responses effectively from one image to another, or from one sound to another so that the interrelationships of separate images and sounds are clear and the transitions between scenes and sequences are smooth. “To achieve this goal, the editor must consider the aesthetic, dramatic and psychological effect of the juxtaposition of image to image, sound to sound, or image to sound, and place each

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