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E-raamat: Technique of Film and Video Editing: History, Theory, and Practice

(Tisch School of the Arts, New York University, NY, USA)
  • Formaat: 512 pages
  • Ilmumisaeg: 07-Dec-2018
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781351810449
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  • Formaat: 512 pages
  • Ilmumisaeg: 07-Dec-2018
  • Kirjastus: Routledge
  • Keel: eng
  • ISBN-13: 9781351810449

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This updated sixth edition of The Technique of Film and Video Editing provides a detailed, precise look at the artistic and aesthetic principles and practices of editing for both picture and sound. Ken Dancyger puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice across a range of genres, including action, comedy, drama, documentary and experimental forms, featuring analysis of dozens of classic and contemporary films.

This new sixth edition includes new chapters on the influence of other media on the editing form, on the importance of surprise in editing, on the contributions of Robert Altman to the art of editing and on the experimental documentary. This edition also includes expanded coverage in technology, creative sound, point of view, and the long take. New case studies explore Whiplash (2014), Room (2015), Lincoln (2012), Tangerine (2015), The Beaches of Agnès (2008), American Sniper (2014), Son of Saul (2015), The Revenant (2015), and many more.

Arvustused

"Ken Dancyger continues to update and improve this latest edition for what is already the gold standard of books on editing. He knows good storytelling and how editing is integral to the process. He places this in historical context with theory and practice. If you are a student of editing, you should read this book."

Scott Arundale, Editor; Author of Modern Post: Workflows and Techniques of Digital Filmmakers

"Ken's additions to his book show all of us who love and study the craft of editing, a real understanding of the importance and stimulating impact editing has in helping tell a story, create mood, and shape characters."

Samuel D. Pollard, Academy Award Nominee, Emmy Award-winning Editor, Eyes on the Prize (1990), 4 Little Girls (1997), When the Levees Broke: A Requiem in Four Acts (2006), ACORN and the Firestorm (2017)

"From D.W. Griffith to MTV, from silent movies to action films, Dancyger explores not only history, techniques, and the social aspects of film and video, but he also looks at how technology has affected film and video making and editing. This isn't a quick read, but definitely worthwhile if you want to gain an understanding of what it takes to be an excellent director and editor."

Theano Nikitas, Camcorder & Computer Video

"Dancyger's book is an excellent introduction to the art of manipulating moving pictures and sound for students, amateurs, hobbyists and professionals alike."

Videomaker.com "Ken Dancyger continues to update and improve this latest edition for what is already the gold standard of books on editing. He knows good storytelling and how editing is integral to the process. He places this in historical context with theory and practice. If you are a student of editing, you should read this book."

Scott Arundale, Editor; Author of Modern Post: Workflows and Techniques of Digital Filmmakers

"Ken's additions to his book show all of us who love and study the craft of editing, a real understanding of the importance and stimulating impact editing has in helping tell a story, create mood, and shape characters."

Samuel D. Pollard, Academy Award Nominee, Emmy Award-winning Editor, Eyes on the Prize (1990), 4 Little Girls (1997), When the Levees Broke: A Requiem in Four Acts (2006), ACORN and the Firestorm (2017)

"From D.W. Griffith to MTV, from silent movies to action films, Dancyger explores not only history, techniques, and the social aspects of film and video, but he also looks at how technology has affected film and video making and editing. This isn't a quick read, but definitely worthwhile if you want to gain an understanding of what it takes to be an excellent director and editor."

Theano Nikitas, Camcorder & Computer Video

"Dancyger's book is an excellent introduction to the art of manipulating moving pictures and sound for students, amateurs, hobbyists and professionals alike."

Videomaker.com

Acknowledgments xvii
Introduction To The Sixth Edition xix
Section 1: History of Film Editing
Chapter 1 The Silent Period
3(22)
Edwin S. Porter: Film Continuity Begins
3(2)
D.W. Griffith: Dramatic Construction
5(6)
International Perspectives
10(1)
Vsevolod I. Pudovkin: Constructive Editing and Heightened Realism
11(2)
Sergei Eisenstein: The Theory of Montage
13(4)
Metric Montage
13(1)
Rhythmic Montage
13(1)
Tonal Montage
13(1)
Overtonal Montage
14(2)
Intellectual Montage
16(1)
Eisenstein: Theoretician and Aesthete
16(1)
Dziga Vertov: The Experiment of Realism
17(1)
Alexander Dovzhenko: Editing by Visual Association
18(2)
Luis Bunuel: Visual Discontinuity
20(3)
Conclusion
23(1)
Notes/References
23(2)
Chapter 2 The Early Sound Film
25(10)
Technological Limitations
25(1)
Technological Improvements
26(1)
Theoretical Issues Concerning Sound
27(1)
Early Experiment in Sound-Alfred Hitchcock's Blackmail
28(2)
Sound, Time, and Place: Fritz Lang's M
30(2)
The Dynamic of Sound: Rouben Mamoulian's Applause
32(2)
Conclusion
34(1)
Notes/References
34(1)
Chapter 3 The Influence of the Documentary
35(12)
Ideas About Society
36(4)
Robert Flaherty and Man of Aran
36(2)
Basil Wright and Night Mail
38(1)
Pare Lorentz and The Plow That Broke the Plains
39(1)
Ideas About Art and Culture
40(2)
Leni Riefenstahl and Olympia
40(1)
W.S. Van Dyke and The City
41(1)
Ideas About War and Society
42(3)
Frank Capra and Why We Fight
43(1)
Humphrey Jennings and A Diary For Timothy
44(1)
Conclusion
45(1)
Notes/References
45(2)
Chapter 4 The Influence of the Popular Arts
47(10)
Vaudeville
47(3)
The Musical
50(1)
The Theatre
51(1)
Radio
52(3)
Notes/References
55(2)
Chapter 5 The Influence of Other Arts
57(12)
The Photograph
57(3)
The Play
60(4)
The Concert
64(5)
Chapter 6 Editors Who Became Directors
69(14)
Robert Wise
70(7)
The Set-Up
71(2)
I Want to Live!
73(2)
West Side Story
75(2)
David Lean
77(6)
Lean's Technique
78(3)
Lean's Art
81(2)
Chapter 7 Experiments in Editing: Alfred Hitchcock
83(12)
A Simple Introduction: Parallel Action
84(1)
A Dramatic Punctuation: The Sound Cut
84(1)
Dramatic Discovery: Cutting on Motion
85(1)
Suspense: The Extreme Long Shot
85(1)
Levels of Meaning: The Cutaway
86(1)
Intensity: The Close-Up
86(1)
The Moment as Eternity: The Extreme Close-Up
87(1)
Dramatic Time and Pace
87(1)
The Unity of Sound
88(1)
The Orthodoxy of the Visual: The Chase
89(2)
Dreamstates: Subjectivity and Motion
91(2)
Conclusion
93(1)
Notes/References
93(2)
Chapter 8 Experiments In Editing II: Robert Altman
95(8)
McCabe and Mrs. Miller
96(1)
The Company
97(2)
Nashville
99(1)
Short Cuts
100(3)
Chapter 9 New Technologies
103(18)
The Wide Screen
103(9)
Character and Environment
106(1)
Relationships
107(1)
Relationships and the Environment
108(1)
The Background
109(1)
The Wide Screen After 1960
110(2)
Cinema Verite
112(5)
Cell-Phone Cinema
117(2)
Preproduction
117(1)
Production
117(1)
Postproduction
118(1)
Notes/References
119(2)
Chapter 10 International Advances
121(14)
The Dynamics of Relativity
121(3)
The Jump Cut and Discontinuity
124(2)
Objective Anarchy: Jean-Luc Godard
126(1)
Melding Past and Present: Alain Resnais
127(2)
Interior Life as External Landscape
129(5)
Notes/References
134(1)
Chapter 11 The Influence of Television and Theatre
135(10)
Television
135(3)
Theatre
138(5)
Notes/References
143(2)
Chapter 12 New Challenges to Filmic Narrative Conventions
145(20)
Peckinpah: Alienation and Anarchy
145(3)
Altman: The Freedom of Chaos
148(1)
Kubrick: New Worlds and Old
149(2)
Herzog: Other Worlds
151(1)
Scorsese: The Dramatic Document
152(1)
Wenders: Mixing Popular and Fine Art
153(1)
Lee: Pace and Social Action
154(4)
Von Trotta: Feminism and Politics
158(2)
Feminism and Antinarrative Editing
160(2)
Mixing Genres
162(2)
Notes/References
164(1)
Chapter 13 The MTV Influence on Editing I
165(10)
Origins
165(2)
The Short Film
166(1)
Where We Are Now-The State of the MTV Style
167(4)
The Importance of Feeling States
167(1)
The Downgrading of the Plot
168(1)
Disjunctive Editing-The Obliteration of Time and Space
169(1)
The Self-Reflexive Dream State
170(1)
The Media Look at Themselves
171(1)
Oliver Stone's Career
171(4)
Natural Born Killers
172(3)
Chapter 14 The MTV Influence on Editing II
175(16)
The Case of Saving Private Ryan
176(4)
The Case of Ang Lee's Crouching Tiger, Hidden Dragon
180(4)
The Set-Pieces
182(2)
The Case of In the Mood for Love
184(2)
The MTV Style of In the Mood for Love
185(1)
The Case of Life Is Beautiful
186(2)
The Set-Pieces in Life Is Beautiful
187(1)
The Case of Tampopo
188(2)
The Set-Pieces in Tampopo
189(1)
Conclusion
190(1)
Note/Reference
190(1)
Chapter 15 Changes in Pace
191(14)
Evolution of Pace in Filmmaking
191(8)
Pace in the Docudrama
192(1)
Pace in the Thriller
193(2)
Pace in the Action-Adventure
195(2)
Pace in the Musical
197(2)
Anti-Pace in Tarantino's Inglourious Basterds
199(1)
The Long Take
200(2)
Point of View
202(1)
Conclusion
203(2)
Chapter 16 The Appropriation of Style I: Imitation and Innovation
205(10)
Narrative and Style
205(1)
Style for Its Own Sake
206(1)
Breaking Expectations
207(2)
Imitation Versus Innovation
209(1)
Imitation and Innovation
209(6)
Chapter 17 The Appropriation of Style II: Limitation and Innovation
215(20)
The Elevation of Cinema Write
215(4)
The Return of Mise-En-Scene
219(5)
The Close-Up and the Long Shot
224(5)
Camera Placement and Pace: The Intervention of Subjective States
229(5)
Note/Reference
234(1)
Chapter 18 The Appropriation of Style III: Digital Reality
235(10)
Artificial Reality
235(4)
Video Over Film
236(1)
Constructed Artifice
237(1)
The Imagined as the Observational
237(1)
Use of Spectacle
238(1)
Use of Special Effects
239(1)
Realism
239(6)
Section 2: Goals Of Editing
Chapter 19 Editing for Narrative Clarity
245(12)
The Plot-Driven Film
246(4)
Five Fingers
246(1)
Mountains of the Moon
247(1)
Invictus
248(2)
The Character-Driven Film
250(2)
Hannah and Her Sisters
250(1)
Valmont
251(1)
Hero
251(1)
The Case of The Hours
252(2)
The Case of Atonement
254(3)
Chapter 20 Editing for Dramatic Emphasis
257(12)
United 93
257(6)
The Docudrama Effect
260(1)
The Close-Up
260(1)
Dynamic Montage
261(1)
Juxtaposition
262(1)
Pace
262(1)
Frost/Nixon
263(6)
Different Goals, Different Strategies
266(1)
The Close-Up
266(1)
Dynamic Montage
267(1)
Juxtaposition
267(1)
Pace
268(1)
Chapter 21 Editing for Subtext
269(8)
The Departed
273(1)
Lust, Caution
273(2)
There Will Be Blood
275(2)
Chapter 22 Editing for Surprise
277(12)
The Case of American Sniper (2014): The Conflicted Goal
279(3)
The Case of Daniel (1983): The Dominance of The Past in the Present
282(2)
The Case of Rachel Getting Married (2008): Celebration and Tragedy
284(2)
The Case of Carol (2015): The Inner Life
286(3)
Chapter 23 Editing for Aesthetics
289(10)
Brighton Rock
290(1)
The Third Man
291(3)
The Passion of the Christ
294(5)
Section 3: Editing for the Genre
Chapter 24 Action
299(14)
The Contemporary Context
301(9)
The General: An Early Action Sequence
304(2)
Raiders of The Lost Ark: A Contemporary Action Sequence
306(2)
The Bourne Ultimatum: The Ultimate Use of Pace in an Action Sequence
308(2)
Case Study: A History of Violence: An Alternative Action Sequence
310(2)
Notes/References
312(1)
Chapter 25 Dialog
313(14)
Dialog and Plot
314(1)
Dialog and Character
315(1)
Multipurpose Dialog
316(2)
Trouble in Paradise: An Early Dialog Sequence
318(3)
Chinatown: A Contemporary Dialog Sequence
321(3)
Michael Clayton: Dialog as Transformative Device
324(1)
Note/Reference
325(2)
Chapter 26 Comedy
327(12)
Character Comedy
327(1)
Situation Comedy
327(1)
Satire
328(1)
Farce
328(1)
Editing Concerns
328(2)
The Comedy Director
330(2)
The Past: The Lady Eve-The Early Comedy of Role Reversal
332(1)
The Present: Victor/Victoria-A Contemporary Comedy of Role Reversal
333(3)
Forgetting Sarah Marshall: Emotional Role Reversal
336(1)
Conclusion
337(1)
Notes/References
338(1)
Chapter 27 Documentary
339(10)
Questions of Ethics, Politics, and Aesthetics
340(1)
Analysis of Documentary Sequences-Memorandum
341(4)
Simple Continuity and the Influence of the Narrator
341(1)
The Transitional Sequence
342(2)
The Archival Sequence
344(1)
A Sequence with Little Narration
345(3)
The Reportage Sequence
346(2)
Notes/References
348(1)
Chapter 28 Imaginative Documentary
349(8)
Altering Meaning Away from the Literal
349(2)
The Wartime Documentary: Imagination and Propaganda
351(1)
The Case of Listen to Britain
352(3)
Conclusion
355(1)
Notes/References
355(2)
Chapter 29 Innovation in Documentary I
357(14)
The Personal Documentary
357(6)
Changes in the Use of Narration
363(6)
The Narrator as Observer
363(1)
The Narrator as Investigator
364(1)
The Narrator as Guide
365(2)
The Narrator as Provocateur
367(2)
Conclusion
369(2)
Chapter 30 Innovations in Documentary II
371(8)
Chapter 31 Innovation in Documentary III: The Experimental Documentary
379(14)
The Beaches of Agnes (2008), Agnes Varda
379(4)
Your Day is My Night (2013), Lynn Sachs
383(2)
Nulepsy (2010), Jessica Sarah Rinland
385(1)
Rat Life and Diet in North America (1968), Joyce Wieland
386(2)
Riddles of the Sphinx (1977), Laura Mulvey and Peter Wollen
388(5)
Section 4: Principles of Editing
Chapter 32 The Picture Edit and Continuity
393(10)
Constructing a Lucid Continuity
394(1)
Providing Adequate Coverage
394(1)
Matching Action
395(1)
Preserving Screen Direction
396(2)
Setting the Scene
398(1)
Matching Tone
399(1)
Matching Flow Over a Cut
399(1)
Change in Location
400(1)
Change in Scene
401(1)
Notes/References
401(2)
Chapter 33 The Picture Edit and Pace
403(10)
Timing
404(1)
Rhythm
405(4)
Time and Place
409(1)
The Possibilities of Randomness Upon Pace
410(1)
Note/Reference
411(2)
Chapter 34 Ideas and Sound
413(12)
Music
413(1)
Sound Effects
414(1)
Dialog
415(1)
Francis Ford Coppola: Experimentation with Sound
415(5)
Alejandro Gonzalez Inarritu's The Revenant
420(3)
Notes/References
423(2)
Chapter 35 The Sound Edit and Clarity
425(8)
General Goals of the Sound Edit
426(1)
Specific Goals of the Sound Edit
427(2)
Realism as a Goal
429(1)
Dialog as Sound
430(1)
The Sound Edit and the Dramatic Core
431(1)
The Sound Edit and the Picture Edit
431(2)
Chapter 36 The Sound Edit and Creative Sound
433(12)
Punctuation
433(1)
Amplification
434(5)
Amplification to Expand Meaning
435(3)
Amplification to Challenge Meaning
438(1)
Transition and Sound
439(1)
Music
439(1)
Tone Through Sound
440(1)
The Narrative Idea and Sound
441(1)
Tone and Narrative Ideas Through Sound
442(2)
Notes/References
444(1)
Chapter 37 Innovations of Sound
445(8)
Chapter 38 Nonlinear Editing and Digital Technology I
453(8)
The Technological Revolution
453(2)
The Limits of Technology
454(1)
The Aesthetic Opportunities
454(1)
The Nonlinear Narrative
455(5)
Past Reliance on Linearity
455(1)
A Philosophy of Nonlinearity
456(1)
The Artists of Nonlinear Narrative
457(3)
Note/Reference
460(1)
Chapter 39 Nonlinear Editing and Digital Technology II
461(14)
The Framework
461(1)
The Case of The Ice Storm
462(3)
The Case of Happiness
465(2)
The Case of The Thin Red Line
467(4)
The Case of Magnolia
471(3)
Notes/References
474(1)
Chapter 40 Conclusion
475(2)
Filmography 477(10)
Glossary 487(8)
Selected Bibliography 495(2)
Index 497
Ken Dancyger is a Professor of Film and Television at Tisch School of the Arts at New York University, as well as the author of numerous books on screenwriting, editing, and production, including Alternative Scriptwriting (with Jeff Rush) and Writing the Short Film (with Patricia Cooper), The Directors Idea and Global Scriptwriting, all published by Routledge/Focal Press. Ken also conducts scriptwriting and editing workshops internationally.