Montagetheorie / Dramaturgieformen

Since the 1990s, the working world of film editors has changed radically thanks to the possibilities offered by digital editing systems. How do digital cutting, compositing, and non-linear editing influence the technical, creative, and dramaturgical strategies of editing? What new possibilities have been added, and which aspects of haptic film editing are still relevant today? What do rough cuts, direct editing, and jump cuts have to do with changing viewing habits? What has changed independently of technological innovation? Which errors of formerly ironclad rules are now obsolete, such as the holy three and the invisible cut? How do today's editing patterns relate to the requirements of changed camera work? How has the editing frequency changed in recent years? This involves the microanalysis of sequences in both fictional and non-fictional contexts. The workshop imparts creative and theoretical knowledge by comparing classic and new methods of film editing and illustrating them with film clips from film and television history. It is aimed at all interested media professionals whose motivation goes beyond operating editing software, who do not let editing solutions be dictated by the software, but reflect on them themselves, and finally at everyone who enjoys the art of film editing.