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This film has the power to take audiences to meet new people explore worlds both imagined and real it can show you the past and send you reeling into the future A cinematic experience can be all encompassing it can stimulate your senses through images that the director has created as long as the editor is on top of game and does his job properly Through the course of this paper I will attempt to analyze the techniques Academy Award winning editor Michael Kahn uses in Steven Spielbergs 1998 release Saving Private Ryan Prior to delving into these techniques we must first examine what the editor had to work with and what the directors goals were for the project Ultimately Steven Spielberg wanted to recreate the chaos and terror that the young men faced as they stormed the beaches of Normandy In order to accomplish this he handed over to the editor a million feet of film that was comprised of a miss mash of shots filmed with several different types of cameras and camera techniques These techniques consisted of but are not limited to the use of varying shutter angles different cameras and primarily hand-held work mixed with some locked down cameras covering the same shots This created a set of rushes that as Steven Spielberg put it were extraordinarily sloppy but in a realistic way The purpose of this sloppy camera work was to create the sense that the footage for Saving Private Ryan was actually shot by combat cameramen The filmmaker went to the extent of allowing the dirt blood and debris that collected on the lenses to remain there because combat cameramen did not have time to clean their lenses when they were in the thick of the fray This story which is told in a non-linear fashion starts off at a cemetery located near the beaches of Normandy As the main character and his family slowly make their way
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