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| Preface |
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xv | |
| Acknowledgments |
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xviii | |
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1 Herbert Zettl, Approaches to Building Screen Space and Vectors |
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1 | (44) |
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Approaches to Building Screen Space |
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1 | (9) |
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Graphic Vectors and Index Vectors: Continuity and Discontinuity |
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10 | (9) |
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180° Rule: Continuity at the Production Stage |
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19 | (5) |
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Motion Vectors: Continuing, Converging |
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24 | (4) |
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A Special Case: Continuity with Z-axis Index Vectors and Z-axis Motion Vectors |
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28 | (7) |
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Broader Views for Building Screen Space |
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35 | (1) |
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Ways of Looking: Looking at, Looking into, Creating an Event |
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35 | (3) |
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Inductive Versus Deductive Approaches to Building Screen Space |
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38 | (3) |
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Deductive Versus Inductive Sequencing and Screen Resolution |
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41 | (1) |
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42 | (3) |
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2 Noel Burch, PMR Versus IMR and Continuity Editing in a 5 × 3 Matrix |
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45 | (41) |
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46 | (2) |
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Edwin S. Porter and the PMR |
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48 | (9) |
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Decoupage and Burch's Matrix |
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57 | (3) |
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The Temporal Axis: Temporal Relations between Outgoing Shot A and Incoming Shot B |
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60 | (1) |
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60 | (1) |
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60 | (4) |
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64 | (6) |
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The Flashforward: A Relatively Rare Occurrence |
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70 | (4) |
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The Spatial Axis: Spatial Relations between Outgoing Shot A and Incoming Shot B |
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74 | (3) |
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Applying Burch's Matrix to Welles and Scorsese |
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77 | (5) |
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82 | (4) |
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3 Hollywood Theorists: Edward Dmytryk and Walter Murch |
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86 | (13) |
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86 | (1) |
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Six Rules for The Ideal Cut |
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87 | (6) |
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Walter Murch: Six Criteria for the Ideal Cut |
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93 | (1) |
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94 | (2) |
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Conclusion: The Tradition of Dymtryk and Murch |
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96 | (3) |
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4 David Bordwell, the Narrative Functions of Continuity Editing and Intensified Continuity |
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99 | (47) |
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Neoformalism Versus Interpretation: Building on Russian Formalism |
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100 | (1) |
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101 | (2) |
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Editing and Canonic Hollywood Narration |
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103 | (3) |
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The Temporal Order of Narrative Events |
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106 | (1) |
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Case A Simultaneous Events, Simultaneous Presentation |
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106 | (7) |
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Case B Successive Events, Simultaneous Presentation |
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113 | (1) |
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Case C Simultaneous Events, Successive Presentation |
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114 | (4) |
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Case D Successive Events, Successive Presentation |
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118 | (4) |
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Narrative Functions of Manipulating Temporal Order |
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122 | (1) |
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The Frequency of Narrative Events |
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122 | (2) |
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The Duration of Narrative Events |
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124 | (2) |
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Equivalence: FD = SYD = SCD |
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126 | (2) |
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Reduction: Ellipsis FD > SYD and SYD = SCD |
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128 | (1) |
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Reduction: Compression (Fast Motion) FD = SYD and both FD and SYD > SCD |
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129 | (2) |
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Expansion: Insertion FD < SYD and SYD = SCD |
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131 | (2) |
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Expansion: Dilation (Slow motion) FD = SYD and both SYD and FD < SCD |
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133 | (1) |
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Using Slow Motion for Violence |
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134 | (4) |
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Bordwell on Intensified Continuity |
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138 | (3) |
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141 | (5) |
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146 | (60) |
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Eisenstein's Contemporaries |
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147 | (1) |
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Dziga Vertov (1896--1954) |
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148 | (1) |
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Lev Kuleshov (1899--1970) |
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148 | (1) |
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Vsevolod I. Pudovkin (1893--1953) |
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149 | (2) |
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Pudovkin Versus Eisenstein |
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151 | (4) |
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155 | (1) |
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Six Usages of the Word "Montage" |
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155 | (8) |
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Eisenstein's Early Theorizing: The Attraction and Seizing the Spectator |
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163 | (26) |
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Eisenstein's Later Work: Making Films and Theorizing in the Age of Stalin |
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189 | (2) |
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Eisenstein's Later Theorizing and Vertical Montage |
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191 | (8) |
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199 | (7) |
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6 Realism and Andre Bazin |
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206 | (32) |
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Early Life, Philosophical Influences and Cine Clubs |
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207 | (2) |
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209 | (3) |
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Bazin on Rossellini and Paisan |
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212 | (3) |
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Bazin on De Sica and Bicycle Thieves |
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215 | (7) |
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Bazin on Welles and Citizen Kane |
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222 | (6) |
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Bazin on Welles and The Magnificent Ambersons |
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228 | (2) |
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230 | (3) |
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233 | (5) |
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7 Dream and Ritual: Andrei Tarkovsky and Maya Deren |
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238 | (22) |
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239 | (1) |
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Tarkovsky and Time Pressure |
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240 | (9) |
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249 | (2) |
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Maya Deren and Meshes of the Afternoon |
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251 | (6) |
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257 | (3) |
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8 Rhythmic and Graphic Editing |
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260 | (57) |
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Rhythmic Relations in Editing |
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261 | (3) |
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Music: Internal or External Rhythm? |
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264 | (1) |
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External Rhythm: Cutting Rhythm and the Decrease in Average Shot Length |
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264 | (5) |
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Factors that Control Internal Rhythm |
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269 | (1) |
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Internal Rhythm: Tempo of the Action |
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270 | (1) |
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Internal Rhythm: Pattern of Movement and Lens Usage |
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271 | (5) |
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Internal Rhythm: Camera Placement |
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276 | (4) |
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Internal Rhythm: Scope of the Shot |
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280 | (1) |
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Internal Rhythm: Camera Movement |
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281 | (6) |
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287 | (3) |
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Internal Rhythm: Repeated Forms |
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290 | (2) |
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External Rhythm: Modification by Transitions |
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292 | (1) |
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External Rhythm: Dissolves |
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293 | (3) |
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296 | (2) |
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298 | (4) |
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External Rhythm: The Iris |
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302 | (2) |
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Graphic Relations in Editing |
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304 | (7) |
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311 | (6) |
| Glossary |
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317 | (6) |
| Index |
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323 | |
