The technique of film & video editing : history, theory, and practice

Cover
Half Title
Title
Copyright
Dedication
Contents
ACKNOWLEDGMENTS
INTRODUCTION TO THE SIXTH EDITION
Section 1: History of Film Editing
	CHAPTER 1 The Silent Period
		Edwin S. Porter: Film Continuity Begins
		D. W. Griffith: Dramatic Construction
			International Perspectives
		Vsevolod I. Pudovkin: Constructive Editing and Heightened Realism
		Sergei Eisenstein: The Theory of Montage
			Metric Montage
			Rhythmic Montage
			Tonal Montage
			Overtonal Montage
			Intellectual Montage
			Eisenstein: Theoretician and Aesthete
		Dziga Vertov: The Experiment of Realism
		Alexander Dovzhenko: Editing by Visual Association
		Luis Buñuel: Visual Discontinuity
		Conclusion
		Notes/References
	CHAPTER 2 The Early Sound Film
		Technological Limitations
		Technological Improvements
		Theoretical Issues Concerning Sound
		Early Experiment in Sound—Alfred Hitchcock's Blackmail
		Sound, Time, and Place: Fritz Lang's M
		The Dynamic of Sound: Rouben Mamoulian's Applause
		Conclusion
		Notes/References
	CHAPTER 3 The Influence of the Documentary
		Ideas About Society
			Robert Flaherty and Man of Aran
			Basil Wright and Night Mail
			Pare Lorentz and The Plow That Broke the Plains
		Ideas About Art and Culture
			Leni Riefenstahl and Olympia
			W. S. Van Dyke and The City
		Ideas About War and Society
			Frank Capra and Why We Fight
			Humphrey Jennings and A Diary For Timothy
		Conclusion
		Notes/References
	CHAPTER 4 The Influence of the Popular Arts
		Vaudeville
		The Musical
		The Theatre
		Radio
		Notes/References
	CHAPTER 5 The Influence of Other Arts
		The Photograph
		The Play
		The Concert
	CHAPTER 6 Editors Who Became Directors
		Robert Wise
			The Set-Up
			I Want to Live!
			West Side Story
		David Lean
			Lean's Technique
			Lean's Art
	CHAPTER 7 Experiments in Editing: Alfred Hitchcock
		A Simple Introduction: Parallel Action
		A Dramatic Punctuation: The Sound Cut
		Dramatic Discovery: Cutting on Motion
		Suspense: The Extreme Long Shot
		Levels of Meaning: The Cutaway
		Intensity: The Close-Up
		The Moment as Eternity: The Extreme Close-Up
			Dramatic Time and Pace
		The Unity of Sound
		The Orthodoxy of the Visual: The Chase
		Dreamstates: Subjectivity and Motion
		Conclusion
		Notes/References
	CHAPTER 8 Experiments In Editing II: Robert Altman
		McCabe and Mrs. Miller
		The Company
		Nashville
		Short Cuts
	CHAPTER 9 New Technologies
		The Wide Screen
			Character and Environment
			Relationships
			Relationships and the Environment
			The Background
			The Wide Screen After 1960
		Cinéma Vérité
		Cell-Phone Cinema
			Preproduction
			Production
			Postproduction
		Notes/References
	CHAPTER 10 International Advances
		The Dynamics of Relativity
		The Jump Cut and Discontinuity
		Objective Anarchy: Jean-Luc Godard
		Melding Past and Present: Alain Resnais
		Interior Life as External Landscape
		Notes/References
	CHAPTER 11 The Influence of Television and Theatre
		Television
		Theatre
		Notes/References
	CHAPTER 12 New Challenges to Filmic Narrative Conventions
		Peckinpah: Alienation and Anarchy
		Altman: The Freedom of Chaos
		Kubrick: New Worlds and Old
		Herzog: Other Worlds
		Scorsese: The Dramatic Document
		Wenders: Mixing Popular and Fine Art
		Lee: Pace and Social Action
		Von Trotta: Feminism and Politics
		Feminism and Antinarrative Editing
		Mixing Genres
		Notes/References
	CHAPTER 13 The MTV Influence on Editing I
		Origins
			The Short Film
		Where We Are Now—The State of the MTV Style
			The Importance of Feeling States
			The Downgrading of the Plot
			Disjunctive Editing—The Obliteration of Time and Space
			The Self-Reflexive Dream State
			The Media Look at Themselves
		Oliver Stone's Career
			Natural Born Killers
	CHAPTER 14 The MTV Influence on Editing II
		The Case of Saving Private Ryan
		The Case of Ang Lee's Crouching Tiger, Hidden Dragon
			The Set-Pieces
		The Case of In the Mood for Love
			The MTV Style of In the Mood for Love
		The Case of Life Is Beautiful
			The Set-Pieces in Life Is Beautiful
		The Case of Tampopo
			The Set-Pieces in Tampopo
		Conclusion
		Note/Reference
	CHAPTER 15 Changes in Pace
		Evolution of Pace in Filmmaking
			Pace in the Docudrama
			Pace in the Thriller
			Pace in the Action-Adventure
			Pace in the Musical
		Anti-Pace in Tarantino's Inglourious Basterds
		The Long Take
		Point of View
		Conclusion
	CHAPTER 16 The Appropriation of Style I: Imitation and Innovation
		Narrative and Style
		Style for Its Own Sake
		Breaking Expectations
		Imitation Versus Innovation
		Imitation and Innovation
	CHAPTER 17 The Appropriation of Style II: Limitation and Innovation
		The Elevation of Cinéma Vérité
		The Return of Mise-En-Scène
		The Close-Up and the Long Shot
		Camera Placement and Pace: The Intervention of Subjective States
		Note/Reference
	CHAPTER 18 The Appropriation of Style III: Digital Reality
		Artificial Reality
			Video Over Film
			Constructed Artifice
			The Imagined as the Observational
			Use of Spectacle
			Use of Special Effects
		Realism
Section 2: Goals Of Editing
	CHAPTER 19 Editing for Narrative Clarity
		The Plot-Driven Film
			Five Fingers
			Mountains of the Moon
			Invictus
		The Character-Driven Film
			Hannah and Her Sisters
			Valmont
			Hero
		The Case of The Hours
		The Case of Atonement
	CHAPTER 20 Editing for Dramatic Emphasis
		United 93
			The Docudrama Effect
			The Close-Up
			Dynamic Montage
			Juxtaposition
			Pace
		Frost/Nixon
			Different Goals, Different Strategies
			The Close-Up
			Dynamic Montage
			Juxtaposition
			Pace
	CHAPTER 21 Editing for Subtext
		The Departed
		Lust, Caution
		There Will Be Blood
	CHAPTER 22 Editing for Surprise
		The Case of American Sniper (2014): The Conflicted Goal
		The Case of Daniel (1983): The Dominance of The Past in the Present
		The Case of Rachel Getting Married (2008): Celebration and Tragedy
		The Case of Carol (2015): The Inner Life
	CHAPTER 23 Editing for Aesthetics
		Brighton Rock
		The Third Man
		The Passion of the Christ
Section 3: Editing for the Genre
	CHAPTER 24 Action
		The Contemporary Context
			The General: An Early Action Sequence
			Raiders of The Lost Ark: A Contemporary Action Sequence
			The Bourne Ultimatum: The Ultimate Use of Pace in an Action Sequence
		Case Study: A History of Violence: An Alternative Action Sequence
		Notes/References
	CHAPTER 25 Dialog
		Dialog and Plot
		Dialog and Character
		Multipurpose Dialog
		Trouble in Paradise: An Early Dialog Sequence
		Chinatown: A Contemporary Dialog Sequence
		Michael Clayton: Dialog as Transformative Device
		Note/Reference
	CHAPTER 26 Comedy
		Character Comedy
		Situation Comedy
		Satire
		Farce
		Editing Concerns
		The Comedy Director
		The Past: The Lady Eve—The Early Comedy of Role Reversal
		The Present: Victor/Victoria—A Contemporary Comedy of Role Reversal
		Forgetting Sarah Marshall: Emotional Role Reversal
		Conclusion
		Notes/References
	CHAPTER 27 Documentary
		Questions of Ethics, Politics, and Aesthetics
		Analysis of Documentary Sequences—Memorandum
			Simple Continuity and the Influence of the Narrator
			The Transitional Sequence
			The Archival Sequence
		A Sequence with Little Narration
			The Reportage Sequence
		Notes/References
	CHAPTER 28 Imaginative Documentary
		Altering Meaning Away from the Literal
		The Wartime Documentary: Imagination and Propaganda
		The Case of Listen to Britain
		Conclusion
		Notes/References
	CHAPTER 29 Innovation in Documentary I
		The Personal Documentary
		Changes in the Use of Narration
			The Narrator as Observer
			The Narrator as Investigator
			The Narrator as Guide
			The Narrator as Provocateur
		Conclusion
	CHAPTER 30 Innovations in Documentary II
	CHAPTER 31 Innovation in Documentary III: The Experimental Documentary
		The Beaches of Agnès (2008), Agnès Varda
		Your Day is My Night (2013), Lynn Sachs
		Nulepsy (2010), Jessica Sarah Rinland
		Rat Life and Diet in North America (1968), Joyce Wieland
		Riddles of the Sphinx (1977), Laura Mulvey and Peter Wollen
Section 4: Principles of Editing
	CHAPTER 32 The Picture Edit and Continuity
		Constructing a Lucid Continuity
		Providing Adequate Coverage
		Matching Action
		Preserving Screen Direction
		Setting the Scene
		Matching Tone
		Matching Flow Over a Cut
		Change in Location
		Change in Scene
		Notes/References
	CHAPTER 33 The Picture Edit and Pace
		Timing
		Rhythm
		Time and Place
		The Possibilities of Randomness Upon Pace
		Note/Reference
	CHAPTER 34 Ideas and Sound
		Music
		Sound Effects
		Dialog
		Francis Ford Coppola: Experimentation with Sound
		Alejandro González Iñárritu's The Revenant
		Notes/References
	CHAPTER 35 The Sound Edit and Clarity
		General Goals of the Sound Edit
		Specific Goals of the Sound Edit
		Realism as a Goal
		Dialog as Sound
		The Sound Edit and the Dramatic Core
		The Sound Edit and the Picture Edit
	CHAPTER 36 The Sound Edit and Creative Sound
		Punctuation
		Amplification
			Amplification to Expand Meaning
			Amplification to Challenge Meaning
		Transition and Sound
		Music
		Tone Through Sound
		The Narrative Idea and Sound
		Tone and Narrative Ideas Through Sound
		Notes/References
	CHAPTER 37 Innovations of Sound
	CHAPTER 38 Nonlinear Editing and Digital Technology I
		The Technological Revolution
			The Limits of Technology
			The Aesthetic Opportunities
		The Nonlinear Narrative
			Past Reliance on Linearity
			A Philosophy of Nonlinearity
			The Artists of Nonlinear Narrative
		Note/Reference
	CHAPTER 39 Nonlinear Editing and Digital Technology II
		The Framework
		The Case of The Ice Storm
		The Case of Happiness
		The Case of The Thin Red Line
		The Case of Magnolia
		Notes/References
	CHAPTER 40 Conclusion
FILMOGRAPHY
GLOSSARY
SELECTED BIBLIOGRAPHY
INDEX