Film Post Production

Analysis of how the editing choices in the animation feature film "Perfect Blue" are accurately studied and performed to reflect the psychological crisis the protagonist faces.

Published on "First Frame" (Spring 2021), BFE (British Film Editors) official magazine.
Edited by: Alan Miller (https://www.imdb.com/name/nm0000083/)

Nonostante gli eroi degli Oscar di domenica scorsa siano stati, per quanto riguarda l’opinione pubblica del nostro paese, l’exploit, atteso ma discusso, di Paolo Sorrentino per La Grande Bellezza, insieme all’ennesimo schiaffo dell’Academy a Leonardo DiCaprio, c’è un film che di nomination ne ha avute parecchie e di premi non se n’è fatti certo mancare (sette statuette su dieci nomination).
Sto parlando di Gravity, uno di quei film che veramente ricorderemo per anni nel suo pionierismo nella tecnologia cinematografica.
Di scarsa risonanza, però, questa vincita straordinaria, un po’ adombrata dal successo nostrano, un po’ dal fatto che, di queste sette statuette, solo una appartiene a quelle amate dal pubblico (Miglior Regia ad Alfonso Cuarón), mentre le altre fanno parte di quegli Oscar tecnici, meno importanti o, in qualche modo, meno sentiti dalla pancia del popolo.

In recent years, China has become one of the largest film industries and in order to remain competitive, Chinese blockbusters are attempting to imitate Hollywood post-production qualities. As Australian post-production companies are internationally renowned for their expertise, Chinese filmmakers are seeking opportunities to collaborate with Australians. The Australian government recognises China’s enthusiasm and has begun highlighting the nation’s strength through various programmes targeted towards the Chinese film industry. Though efforts have been placed to promote Australia's post-production industry, there is currently minimal research on Chinese cinema audiences' opinions regarding this transnational collaboration. To examine the effects of transnationality in Chinese cinema, this paper analyses Chinese audiences' opinions, along with exploring how the Australian government and post-production companies are engaging with China, to understand the potential of this partnership. The paper utilises data collected from the Chinese social networking site Douban to understand audiences’ reception on the post-production elements of the Chinese film Hero (2002). Overall, the analysis demonstrates that Chinese audiences are not identifying Australia’s role, however the impact of Australian practitioners are being emphasised through complements on the film’s visual effects, showing great potential between this transnational collaboration.