Editing Film styles (section)

==Style and the director==
A [[film director]] may have a distinctive filmmaking style that differs from other directors, similar to an author's own distinctive [[writing style]]. Through the analysis of film techniques, differences between filmmakers' styles become apparent.<ref name=Thompson>[[Bordwell, David]]; [[Kristin Thompson]] (2003). ''Film Art: An Introduction'' (Seventh edition ed.). New York: McGraw-Hill.</ref>

There are many technical possibilities available to filmmakers. As a result, no single film will be made using every single technique. Historical circumstances, for example, limit the choices for the director. During the silent film era, filmmakers were not able to use synchronized dialogue until sound became possible in the late 1920s.<ref>{{cite web | url=http://www.filmsite.org/20sintro3.html | title=Film History of the 1920s | publisher=[[Filmsite.org]] | accessdate=June 13, 2017 | author=Dirks, Tim}}</ref> Films before the 1930s were black and white; now directors have the choice of shooting in color tints or black and white.<ref>{{cite web | url=http://www.filmsite.org/50sintro.html | title=Film History of the 1950s | publisher=Filmsite.org | accessdate=June 13, 2017 | author=Dirks, Tim}}</ref>

Directors can choose how to use film language.  One of the most noticeable ways to affect film style is through [[mise-en-scène]], or what appears on the screen. [[Film lighting|Lighting]], costumes, [[Film prop|props]], camera movements, and backgrounds are all part of mise-en-scène. There are countless ways to create a film based on the same script simply through changing the mise-en-scène.<ref>Gibbs, John. ''Mise-en-scène''. United Kingdom: Wallflower Press, 2002.   {{ISBN|1-903364-06-X}}, 9781903364062</ref> Adjusting these techniques creates meaning and can highlight aspects of the narrative. Many filmmakers will create the overall film style to reflect the story.<ref name=Thompson/>