Acknowledgments |
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xvii | |
Introduction To The Sixth Edition |
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xix | |
Section 1: History of Film Editing |
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Chapter 1 The Silent Period |
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3 | (22) |
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Edwin S. Porter: Film Continuity Begins |
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3 | (2) |
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D.W. Griffith: Dramatic Construction |
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5 | (6) |
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International Perspectives |
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10 | (1) |
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Vsevolod I. Pudovkin: Constructive Editing and Heightened Realism |
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11 | (2) |
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Sergei Eisenstein: The Theory of Montage |
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13 | (4) |
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13 | (1) |
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13 | (1) |
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13 | (1) |
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14 | (2) |
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16 | (1) |
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Eisenstein: Theoretician and Aesthete |
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16 | (1) |
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Dziga Vertov: The Experiment of Realism |
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17 | (1) |
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Alexander Dovzhenko: Editing by Visual Association |
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18 | (2) |
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Luis Bunuel: Visual Discontinuity |
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20 | (3) |
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23 | (1) |
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23 | (2) |
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Chapter 2 The Early Sound Film |
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25 | (10) |
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Technological Limitations |
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25 | (1) |
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Technological Improvements |
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26 | (1) |
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Theoretical Issues Concerning Sound |
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27 | (1) |
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Early Experiment in Sound-Alfred Hitchcock's Blackmail |
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28 | (2) |
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Sound, Time, and Place: Fritz Lang's M |
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30 | (2) |
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The Dynamic of Sound: Rouben Mamoulian's Applause |
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32 | (2) |
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34 | (1) |
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34 | (1) |
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Chapter 3 The Influence of the Documentary |
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35 | (12) |
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36 | (4) |
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Robert Flaherty and Man of Aran |
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36 | (2) |
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Basil Wright and Night Mail |
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38 | (1) |
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Pare Lorentz and The Plow That Broke the Plains |
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39 | (1) |
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Ideas About Art and Culture |
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40 | (2) |
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Leni Riefenstahl and Olympia |
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40 | (1) |
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W.S. Van Dyke and The City |
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41 | (1) |
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Ideas About War and Society |
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42 | (3) |
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Frank Capra and Why We Fight |
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43 | (1) |
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Humphrey Jennings and A Diary For Timothy |
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44 | (1) |
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45 | (1) |
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45 | (2) |
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Chapter 4 The Influence of the Popular Arts |
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47 | (10) |
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47 | (3) |
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50 | (1) |
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51 | (1) |
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52 | (3) |
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55 | (2) |
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Chapter 5 The Influence of Other Arts |
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57 | (12) |
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57 | (3) |
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60 | (4) |
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64 | (5) |
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Chapter 6 Editors Who Became Directors |
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69 | (14) |
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70 | (7) |
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71 | (2) |
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73 | (2) |
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75 | (2) |
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77 | (6) |
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78 | (3) |
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81 | (2) |
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Chapter 7 Experiments in Editing: Alfred Hitchcock |
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83 | (12) |
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A Simple Introduction: Parallel Action |
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84 | (1) |
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A Dramatic Punctuation: The Sound Cut |
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84 | (1) |
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Dramatic Discovery: Cutting on Motion |
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85 | (1) |
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Suspense: The Extreme Long Shot |
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85 | (1) |
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Levels of Meaning: The Cutaway |
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86 | (1) |
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86 | (1) |
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The Moment as Eternity: The Extreme Close-Up |
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87 | (1) |
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87 | (1) |
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88 | (1) |
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The Orthodoxy of the Visual: The Chase |
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89 | (2) |
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Dreamstates: Subjectivity and Motion |
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91 | (2) |
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93 | (1) |
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93 | (2) |
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Chapter 8 Experiments In Editing II: Robert Altman |
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95 | (8) |
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96 | (1) |
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97 | (2) |
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99 | (1) |
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100 | (3) |
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Chapter 9 New Technologies |
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103 | (18) |
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103 | (9) |
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Character and Environment |
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106 | (1) |
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107 | (1) |
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Relationships and the Environment |
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108 | (1) |
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109 | (1) |
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The Wide Screen After 1960 |
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110 | (2) |
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112 | (5) |
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117 | (2) |
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117 | (1) |
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117 | (1) |
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118 | (1) |
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119 | (2) |
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Chapter 10 International Advances |
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121 | (14) |
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The Dynamics of Relativity |
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121 | (3) |
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The Jump Cut and Discontinuity |
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124 | (2) |
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Objective Anarchy: Jean-Luc Godard |
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126 | (1) |
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Melding Past and Present: Alain Resnais |
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127 | (2) |
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Interior Life as External Landscape |
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129 | (5) |
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134 | (1) |
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Chapter 11 The Influence of Television and Theatre |
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135 | (10) |
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135 | (3) |
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138 | (5) |
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143 | (2) |
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Chapter 12 New Challenges to Filmic Narrative Conventions |
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145 | (20) |
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Peckinpah: Alienation and Anarchy |
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145 | (3) |
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Altman: The Freedom of Chaos |
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148 | (1) |
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Kubrick: New Worlds and Old |
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149 | (2) |
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151 | (1) |
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Scorsese: The Dramatic Document |
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152 | (1) |
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Wenders: Mixing Popular and Fine Art |
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153 | (1) |
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Lee: Pace and Social Action |
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154 | (4) |
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Von Trotta: Feminism and Politics |
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158 | (2) |
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Feminism and Antinarrative Editing |
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160 | (2) |
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162 | (2) |
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164 | (1) |
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Chapter 13 The MTV Influence on Editing I |
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165 | (10) |
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165 | (2) |
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166 | (1) |
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Where We Are Now-The State of the MTV Style |
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167 | (4) |
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The Importance of Feeling States |
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167 | (1) |
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The Downgrading of the Plot |
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168 | (1) |
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Disjunctive Editing-The Obliteration of Time and Space |
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169 | (1) |
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The Self-Reflexive Dream State |
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170 | (1) |
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The Media Look at Themselves |
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171 | (1) |
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171 | (4) |
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172 | (3) |
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Chapter 14 The MTV Influence on Editing II |
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175 | (16) |
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The Case of Saving Private Ryan |
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176 | (4) |
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The Case of Ang Lee's Crouching Tiger, Hidden Dragon |
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180 | (4) |
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182 | (2) |
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The Case of In the Mood for Love |
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184 | (2) |
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The MTV Style of In the Mood for Love |
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185 | (1) |
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The Case of Life Is Beautiful |
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186 | (2) |
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The Set-Pieces in Life Is Beautiful |
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187 | (1) |
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188 | (2) |
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The Set-Pieces in Tampopo |
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189 | (1) |
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190 | (1) |
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190 | (1) |
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Chapter 15 Changes in Pace |
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191 | (14) |
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Evolution of Pace in Filmmaking |
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191 | (8) |
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192 | (1) |
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193 | (2) |
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Pace in the Action-Adventure |
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195 | (2) |
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197 | (2) |
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Anti-Pace in Tarantino's Inglourious Basterds |
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199 | (1) |
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200 | (2) |
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202 | (1) |
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203 | (2) |
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Chapter 16 The Appropriation of Style I: Imitation and Innovation |
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205 | (10) |
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205 | (1) |
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206 | (1) |
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207 | (2) |
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Imitation Versus Innovation |
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209 | (1) |
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209 | (6) |
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Chapter 17 The Appropriation of Style II: Limitation and Innovation |
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215 | (20) |
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The Elevation of Cinema Write |
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215 | (4) |
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The Return of Mise-En-Scene |
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219 | (5) |
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The Close-Up and the Long Shot |
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224 | (5) |
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Camera Placement and Pace: The Intervention of Subjective States |
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229 | (5) |
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234 | (1) |
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Chapter 18 The Appropriation of Style III: Digital Reality |
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235 | (10) |
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235 | (4) |
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236 | (1) |
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237 | (1) |
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The Imagined as the Observational |
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237 | (1) |
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238 | (1) |
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239 | (1) |
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239 | (6) |
Section 2: Goals Of Editing |
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Chapter 19 Editing for Narrative Clarity |
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245 | (12) |
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246 | (4) |
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246 | (1) |
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247 | (1) |
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248 | (2) |
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The Character-Driven Film |
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250 | (2) |
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250 | (1) |
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251 | (1) |
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251 | (1) |
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252 | (2) |
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254 | (3) |
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Chapter 20 Editing for Dramatic Emphasis |
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257 | (12) |
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257 | (6) |
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260 | (1) |
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260 | (1) |
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261 | (1) |
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262 | (1) |
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262 | (1) |
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263 | (6) |
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Different Goals, Different Strategies |
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266 | (1) |
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266 | (1) |
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267 | (1) |
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267 | (1) |
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268 | (1) |
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Chapter 21 Editing for Subtext |
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269 | (8) |
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273 | (1) |
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273 | (2) |
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275 | (2) |
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Chapter 22 Editing for Surprise |
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277 | (12) |
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The Case of American Sniper (2014): The Conflicted Goal |
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279 | (3) |
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The Case of Daniel (1983): The Dominance of The Past in the Present |
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282 | (2) |
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The Case of Rachel Getting Married (2008): Celebration and Tragedy |
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284 | (2) |
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The Case of Carol (2015): The Inner Life |
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286 | (3) |
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Chapter 23 Editing for Aesthetics |
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289 | (10) |
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290 | (1) |
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291 | (3) |
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The Passion of the Christ |
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294 | (5) |
Section 3: Editing for the Genre |
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299 | (14) |
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301 | (9) |
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The General: An Early Action Sequence |
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304 | (2) |
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Raiders of The Lost Ark: A Contemporary Action Sequence |
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306 | (2) |
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The Bourne Ultimatum: The Ultimate Use of Pace in an Action Sequence |
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308 | (2) |
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Case Study: A History of Violence: An Alternative Action Sequence |
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310 | (2) |
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312 | (1) |
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313 | (14) |
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314 | (1) |
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315 | (1) |
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316 | (2) |
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Trouble in Paradise: An Early Dialog Sequence |
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318 | (3) |
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Chinatown: A Contemporary Dialog Sequence |
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321 | (3) |
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Michael Clayton: Dialog as Transformative Device |
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324 | (1) |
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325 | (2) |
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327 | (12) |
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327 | (1) |
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327 | (1) |
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328 | (1) |
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328 | (1) |
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328 | (2) |
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330 | (2) |
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The Past: The Lady Eve-The Early Comedy of Role Reversal |
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332 | (1) |
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The Present: Victor/Victoria-A Contemporary Comedy of Role Reversal |
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333 | (3) |
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Forgetting Sarah Marshall: Emotional Role Reversal |
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336 | (1) |
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337 | (1) |
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338 | (1) |
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339 | (10) |
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Questions of Ethics, Politics, and Aesthetics |
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340 | (1) |
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Analysis of Documentary Sequences-Memorandum |
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341 | (4) |
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Simple Continuity and the Influence of the Narrator |
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341 | (1) |
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The Transitional Sequence |
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342 | (2) |
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344 | (1) |
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A Sequence with Little Narration |
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345 | (3) |
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346 | (2) |
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348 | (1) |
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Chapter 28 Imaginative Documentary |
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349 | (8) |
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Altering Meaning Away from the Literal |
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349 | (2) |
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The Wartime Documentary: Imagination and Propaganda |
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351 | (1) |
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The Case of Listen to Britain |
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352 | (3) |
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355 | (1) |
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355 | (2) |
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Chapter 29 Innovation in Documentary I |
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357 | (14) |
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357 | (6) |
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Changes in the Use of Narration |
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363 | (6) |
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363 | (1) |
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The Narrator as Investigator |
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364 | (1) |
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365 | (2) |
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The Narrator as Provocateur |
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367 | (2) |
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369 | (2) |
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Chapter 30 Innovations in Documentary II |
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371 | (8) |
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Chapter 31 Innovation in Documentary III: The Experimental Documentary |
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379 | (14) |
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The Beaches of Agnes (2008), Agnes Varda |
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379 | (4) |
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Your Day is My Night (2013), Lynn Sachs |
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383 | (2) |
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Nulepsy (2010), Jessica Sarah Rinland |
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385 | (1) |
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Rat Life and Diet in North America (1968), Joyce Wieland |
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386 | (2) |
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Riddles of the Sphinx (1977), Laura Mulvey and Peter Wollen |
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388 | (5) |
Section 4: Principles of Editing |
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Chapter 32 The Picture Edit and Continuity |
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393 | (10) |
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Constructing a Lucid Continuity |
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394 | (1) |
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Providing Adequate Coverage |
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394 | (1) |
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395 | (1) |
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Preserving Screen Direction |
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396 | (2) |
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398 | (1) |
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399 | (1) |
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399 | (1) |
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400 | (1) |
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401 | (1) |
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401 | (2) |
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Chapter 33 The Picture Edit and Pace |
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403 | (10) |
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404 | (1) |
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405 | (4) |
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409 | (1) |
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The Possibilities of Randomness Upon Pace |
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410 | (1) |
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411 | (2) |
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Chapter 34 Ideas and Sound |
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413 | (12) |
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413 | (1) |
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414 | (1) |
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415 | (1) |
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Francis Ford Coppola: Experimentation with Sound |
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415 | (5) |
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Alejandro Gonzalez Inarritu's The Revenant |
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420 | (3) |
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423 | (2) |
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Chapter 35 The Sound Edit and Clarity |
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425 | (8) |
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General Goals of the Sound Edit |
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426 | (1) |
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Specific Goals of the Sound Edit |
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427 | (2) |
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429 | (1) |
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430 | (1) |
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The Sound Edit and the Dramatic Core |
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431 | (1) |
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The Sound Edit and the Picture Edit |
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431 | (2) |
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Chapter 36 The Sound Edit and Creative Sound |
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433 | (12) |
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433 | (1) |
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434 | (5) |
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Amplification to Expand Meaning |
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435 | (3) |
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Amplification to Challenge Meaning |
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438 | (1) |
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439 | (1) |
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439 | (1) |
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440 | (1) |
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The Narrative Idea and Sound |
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441 | (1) |
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Tone and Narrative Ideas Through Sound |
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442 | (2) |
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444 | (1) |
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Chapter 37 Innovations of Sound |
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445 | (8) |
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Chapter 38 Nonlinear Editing and Digital Technology I |
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453 | (8) |
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The Technological Revolution |
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453 | (2) |
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454 | (1) |
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The Aesthetic Opportunities |
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454 | (1) |
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455 | (5) |
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Past Reliance on Linearity |
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455 | (1) |
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A Philosophy of Nonlinearity |
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456 | (1) |
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The Artists of Nonlinear Narrative |
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457 | (3) |
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460 | (1) |
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Chapter 39 Nonlinear Editing and Digital Technology II |
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461 | (14) |
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461 | (1) |
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The Case of The Ice Storm |
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462 | (3) |
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465 | (2) |
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The Case of The Thin Red Line |
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467 | (4) |
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471 | (3) |
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474 | (1) |
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475 | (2) |
Filmography |
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477 | (10) |
Glossary |
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487 | (8) |
Selected Bibliography |
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495 | (2) |
Index |
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497 | |