Читать книгу A Companion to Motion Pictures and Public Value - Группа авторов - Страница 58

Our approach to revising the narrative that effaces women is to look at the actual work that women were doing and reclassify it. Cumulatively, these case studies support the proposition that “good editing is not invisible, and neither are the women who do it” (Pearlman & Gaines 2019).

To illustrate this lower level of analysis at which distributed cognition and film history can be integrated for mutual benefit, we first show how editing can itself be understood as authorship, through the work of compilation filmmaker Esfir Shub. Finally, we draw some more experience-near evidence from a workshop exercise we did with four contemporary film philosophers and four editors, using the industry standard tools and materials of contemporary filmmaking practice.