The Technique of Film and Video Editing. History, Theory, and Practice

Title page......Page 4
Copyright page......Page 5
Table of contents......Page 8
INTRODUCTION......Page 18
TERMS......Page 19
THE ROLE OF EXPERIMENTAL AND DOCUMENTARY FILMS......Page 20
THE ROLE OF THE EDITOR......Page 21
A WORD ABOUT FILM EXAMPLES......Page 23
I HISTORY OF FILM EDITING......Page 26
1 The Silent Period......Page 28
EDWIN S. PORTER: FILM CONTINUITY BEGINS......Page 29
D. W. GRIFFITH: DRAMATIC CONSTRUCTION......Page 30
INTERNATIONAL PERSPECTIVES......Page 38
VSEVOLOD I. PUDOVKIN: CONSTRUCTIVE EDITING AND HEIGHTENED REALISM......Page 39
SERGEI EISENSTEIN: THE THEORY OF MONTAGE......Page 41
DZIGA VERTOV: THE EXPERIMENT OF REALISM......Page 50
ALEXANDER DOVZHENKO: EDITING BY VISUAL ASSOCIATION......Page 51
LUIS BUÑUEL: VISUAL DISCONTINUITY......Page 52
CONCLUSION......Page 60
NOTES/REFERENCES......Page 63
TECHNOLOGICAL LIMITATIONS......Page 64
TECHNOLOGICAL IMPROVEMENTS......Page 66
EARLY EXPERIMENT IN SOUND—ALFRED HITCHCOCK’S BLACKMAIL......Page 67
SOUND, TIME, AND PLACE: FRITZ LANG’S M......Page 71
THE DYNAMIC OF SOUND: ROUBEN MAMOULIAN’S APPLAUSE......Page 74
NOTES/REFERENCES......Page 77
3 The Influence of the Documentary......Page 78
IDEAS ABOUT SOCIETY......Page 79
IDEAS ABOUT ART AND CULTURE......Page 86
IDEAS ABOUT WAR AND SOCIETY......Page 90
CONCLUSION......Page 94
NOTES/REFERENCES......Page 95
VAUDEVILLE......Page 96
THE MUSICAL......Page 99
THE THEATRE......Page 100
RADIO......Page 102
NOTES/REFERENCES......Page 105
5 Editors Who Became Directors......Page 106
ROBERT WISE......Page 107
DAVID LEAN......Page 115
6 Experiments in Editing: Alfred Hitchcock......Page 122
A SIMPLE INTRODUCTION: PARALLEL ACTION......Page 123
DRAMATIC DISCOVERY: CUTTING ON MOTION......Page 124
LEVELS OF MEANING: THE CUTAWAY......Page 125
INTENSITY: THE CLOSE-UP......Page 126
DRAMATIC TIME AND PACE......Page 127
THE UNITY Of SOUND......Page 128
THE ORTHODOXY Of THE VISUAL: THE CHASE......Page 130
DREAMSTATES: SUBJECTIVITY AND MOTION......Page 131
NOTES/REFERENCES......Page 134
THE WIDE SCREEN......Page 135
CINEMA VERITÉ......Page 146
NOTES/REFERENCES......Page 152
8 International Advances......Page 153
THE DYNAMICS OF RELATIVITY......Page 154
THE JUMP CUT AND DISCONTINUITY......Page 156
OBJECTIVE ANARCHY: JEAN-LUC GODARD......Page 159
MELDING PAST AND PRESENT: ALAIN RESNAIS......Page 161
INTERIOR LIFE AS EXTERNAL LANDSCAPE......Page 164
NOTES/REFERENCES......Page 172
TELEVISION......Page 173
THEATRE......Page 177
NOTES/REFERENCES......Page 183
PECKINPAH: ALIENATION AND ANARCHY......Page 184
ALTMAN: THE FREEDOM OF CHAOS......Page 188
KUBRICK: NEW WORLDS AND OLD......Page 189
SCORSESE: THE DRAMATIC DOCUMENT......Page 192
WENDERS: MIXING POPULAR AND FINE ART......Page 195
LEE: PACE AND SOCIAL ACTION......Page 196
VON TROTTA: FEMINISM AND POLITICS......Page 200
FEMINISM AND ANTINARRATIVE EDITING......Page 204
MIXING GENRES......Page 206
NOTES/REFERENCES......Page 208
11 The MTV Influence on Editing I......Page 209
ORIGINS......Page 210
WHERE WE ARE NOW—THE STATE OF THE MTV STYLE......Page 211
THE IMPORTANCE OF FEELING STATES......Page 212
THE DOWNGRADING OF THE PLOT......Page 213
DISJUNCTIVE EDITING—THE OBLITERATION OF TIME AND SPACE......Page 214
THE SELF-REFLEXIVE DREAM STATE......Page 215
OLIVER STONE’S CAREER......Page 216
12 The MTV Influence on Editing II......Page 221
THE CASE OF SAVING PRIVATE RYAN......Page 222
THE CASE OF ANG LEE’S CROUCHING TIGER, HIDDEN DRAGON......Page 227
THE CASE OF IN THE MOOD FOR LOVE......Page 231
NOTE/REFERENCE......Page 238
EVOLUTION OF PACE IN FILMMAKING......Page 239
CONCLUSION......Page 247
NARRATIVE AND STYLE......Page 248
STYLE FOR ITS OWN SAKE......Page 250
BREAKING EXPECTATIONS......Page 251
IMITATION VERSUS INNOVATION......Page 252
IMITATION AND INNOVATION......Page 253
THE ELEVATION OF CINEMA VERITÉ......Page 258
THE RETURN OF MISE-EN-SCÈNE......Page 262
THE CLOSE-UP AND THE LONG SHOT......Page 268
CAMERA PLACEMENT AND PACE: THE INTERVENTION OF SUBJECTIVE STATES......Page 273
NOTE/REFERENCE......Page 279
16 The Appropriation of Style III: Digital Reality......Page 280
ARTIFICIAL REALITY......Page 281
REALISM......Page 285
II EDITING FOR THE GENRE......Page 290
17 Action......Page 292
THE CONTEMPORARY CONTEXT......Page 295
SEQUENCE......Page 298
A CONTEMPORARY ACTION SEQUENCE......Page 301
NOTES/REFERENCES......Page 304
18 Dialogue......Page 305
DIALOGUE AND PLOT......Page 306
DIALOGUE AND CHARACTER......Page 307
MULTIPURPOSE DIALOGUE......Page 309
AN EARLY DIALOGUE SEQUENCE......Page 310
DIALOGUE SEQUENCE......Page 314
NOTE/REFERENCE......Page 317
CHARACTER COMEDY......Page 318
EDITING CONCERNS......Page 319
THE COMEDY DIRECTOR......Page 322
THE PAST: THE LADY EVE - THE EARLY COMEDY OF ROLE REVERSAL......Page 323
THE PRESENT: VICTOR/VICTORIA - A CONTEMPORARY COMEDY OF ROLE REVERSAL......Page 325
NOTES/REFERENCES......Page 328
20 Documentary......Page 329
QUESTIONS OF ETHICS, POLITICS, AND AESTHETICS......Page 330
ANALYSIS OF DOCUMENTARY SEQUENCES - MEMORANDUM (1966)......Page 331
NOTES/REFERENCES......Page 344
ALTERING MEANING AWAY FROM THE LITERAL......Page 345
THE WARTIME DOCUMENTARY: IMAGINATION AND PROPAGANDA......Page 347
THE CASE OF LISTEN TO BRITAIN......Page 348
CONCLUSION......Page 351
NOTES/REFERENCES......Page 352
THE PERSONAL DOCUMENTARY......Page 353
CHANGES IN THE USE Of NARRATION......Page 359
CONCLUSION......Page 366
23 Innovations in Documentary II......Page 367
MUSIC......Page 374
DIALOGUE......Page 375
FRANCIS FORD COPPOLA: EXPERIMENTATION WITH SOUND......Page 376
NOTES/REFERENCES......Page 382
III PRINCIPLES OF EDITING......Page 384
25 The Picture Edit and Continuity......Page 386
PROVIDING ADEQUATE COVERAGE......Page 387
MATCHING ACTION......Page 388
PRESERVING SCREEN DIRECTION......Page 391
SETTING THE SCENE......Page 393
MATCHING TONE......Page 394
MATCHING FLOW OVER A CUT......Page 395
CHANGE IN SCENE......Page 396
NOTES/REFERENCES......Page 397
26 The Picture Edit and Pace......Page 398
TIMING......Page 399
RHYTHM......Page 400
TIME AND PLACE......Page 404
THE POSSIBILITIES OF RANDOMNESS UPON PACE......Page 406
NOTE/REFERENCE......Page 407
27 The Sound Edit and Clarity......Page 408
GENERAL GOALS OF THE SOUND EDIT......Page 409
SPECIFIC GOALS OF THE SOUND EDIT......Page 411
REALISM AS A GOAL......Page 413
THE SOUND EDIT AND THE DRAMATIC CORE......Page 414
THE SOUND EDIT AND THE PICTURE EDIT......Page 415
PUNCTUATION......Page 416
AMPLIFICATION......Page 418
TRANSITION AND SOUND......Page 422
MUSIC......Page 423
NOTES/REFERENCES......Page 424
29 Innovations of Sound......Page 425
THE TECHNOLOGICAL REVOLUTION......Page 433
THE LIMITS OF TECHNOLOGY......Page 434
THE NONLINEAR NARRATIVE......Page 435
PAST RELIANCE ON LINEARITY......Page 436
THE ARTISTS OF NONLINEAR NARRATIVE......Page 437
NOTE/REFERENCE......Page 441
THE FRAMEWORK......Page 442
THE CASE OF THE ICE STORM......Page 443
NOTES/REFERENCES......Page 457
32 Conclusion......Page 458
Appendix A: Filmography......Page 460
Glossary......Page 474
SELECTED BIBLIOGRAPHY......Page 483