The Technique of Film and Video Editing: History, Theory, and Practice
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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. Because editing is about more than learning a specific software program, this book focuses on the fundamentals of editing as art. Analysis of photographs from dozens of classic and contemporary films and videos provide a sound basis for the professional filmmaker and student editor.
This book puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice. This edition includes brand new chapters covering the goals of editing, including editing for narrative clarity, subtext, aesthetics, and dramatic emphasis, all showing how to evoke specific audience responses. Some of the new films to be discussed include A History of Violence, Atonement, The Departed, Forgetting Sarah Marshall, MIchael Clayton, and more.
energize their direction, and for them, the problems of pace and clarity have been less glaring. Nor are actors singular in their talents. Warren Beatty has been very successful directing comedy (Heaven Can Wait, 1977). Diane Keaton has excelled in psychological drama (Unstrung Heroes, 1995), Mel Gibson has excelled in directing action (Braveheart, 1995). And Clint Eastwood has crossed genres, directing exceptional Westerns (Unforgiven, 1992) and melodrama (The Bridges of Madison County, 1995).
the tension of what will happen on the train and beyond. Hitchcock managed in this brief sequence to use editing to raise the dramatic tension in both shots considerably, and their combination adds even more to the sense of expectation about what will follow. h DRAMATIC DISCOVERY: CUTTING ON MOTION This sense of punctuation via editing is even more compelling in a brief sequence in Spellbound. John Ballantine (Gregory Peck) has forgotten his past because of a trauma. He is accused of posing as
particular details of the killing. When Hitchcock wanted to register Crane’s shock, her fear, and her resistance, he resorted to an extreme close shot of her mouth or of her hand. The shots are very brief, less than a second, and focus on a detail of the preceding, fuller shot of Crane. When Hitchcock wanted to increase the sense of shock, he cut to a subjective shot of the murder weapon coming down at the camera. This enhances the audience’s shock and identification with the victim. The use of
one-armed veteran of World War II. It is 1945, and he has traveled to Black Rock, a small desert town, to give a medal to the father of the man who died saving his life. The problem is that father and son were Japanese-Americans, and this town has a secret. Its richest citizen, Reno Smith (Robert Ryan), and his cronies killed the father, Kimoko, in a drunken rage after the attack on Pearl Harbor. The townspeople try to cover up this secret, but McCready quickly discovers the truth. In 48 hours,
individual shot. Porter did not pay attention to the physical length of the shots, and all of the shots, excluding that of the hand, are long shots. The camera was placed to record the shot rather than to editorialize on the narrative of the shot. Porter presented an even more sophisticated narrative in late 1903 with The Great Train Robbery. The film, 12 minutes in length, tells the story of a train robbery and the consequent fate of the robbers. In 14 shots, the film includes interiors of the