Annie Walsh is a film editor and colour grade artist currently based in Dublin, Ireland. Annie has been a passionate editor for almost a decade, with her film editing and colour grading work ranging from corporate shoots and music videos to films and documentaries screened nationally and internationally at festivals. She thrives off of working with passionate and collaborative teams, and is always looking for a challenge in something new. Annie has recently focused her efforts into creating strong, emotionally-driven narrative-based commercial and filmic work, and is excited to continue expanding her skillset into her future projects and post-production career.
Annie majored in Editing in her final year, finishing her degree with a short comedy piece and a co-editing credit on a comedy TV programme: a genre untouched by the editor in years, after originally preparing to edit a psychological horror in Second Semester ahead of Covid-19 restrictions. However, it was a welcome challenge, and the final pieces are not only objectively humorous in their editing, but allowed Annie to round-off her genre-based creative skills. Annie's technical skills were also advanced over the past year, as she ventured into using Avid Media Composer for the first time whilst simultaneously broadening her experience and knowledge in software such as Adobe After Effects and Blackmagic DaVinci Resolve. Other credits obtained this year include colour grading credits on two other graduate films, from directors Robert Bass and Eoin Byrne.
Annie's dissertation investigates the use of nonlinearity in Greta Gerwig’s adaptation of Little Women (2019) and its effect on the thematic, dramatic and emotional output of the film. As one of many adaptations of the classic nineteenth-century novel by Louisa May Alcott, Gerwig’s use of temporal non-chronology gives the text an edge never before explored, by manipulating the original feministic undertones into a new meaning and conclusion.
In the thesis, nonlinearity in films is first examined and broken down to determine what factors a film must employ to be categorised as nonlinear, before applying these definitions to Little Women. From there, Annie looks at the structuring of Little Women compared to an earlier chronological adaptation (that of Armstrong’s 1994 Little Women) and how Gerwig’s approach elicits a differing thematic composition and output. Finally, Annie explores how the nonlinearity of the film allowed Gerwig and her editor, Nick Houy, to heighten and play with emotions throughout the narrative by utilising juxtaposition and repetition to connect each individual timeline together, maintaining a certain level of continuity and comprehension without sacrificing its aim of powerful emotional elicitation.