Download Technique of Film Editing, Reissue of 2nd Edition PDF

TitleTechnique of Film Editing, Reissue of 2nd Edition
ISBN 139780080518619
CategoryArts - Film
Author
LanguageEnglish
File Size4.0 MB
Total Pages369
Table of Contents
                            The Technique of Film Editing
Copyright Page
Contents
Publisher's Note
Introduction
Acknowledgements
Foreword
PART I
	SECTION 1 THE HISTORY OF EDITING
		Chapter 1 Editing and the Silent Film
			The Beginnings of Film Continuity
			Griffith: Dramatic Emphasis
			Pudovkin: Constructive Editing
			Eisenstein: Intellectual Montage
		Chapter 2 Editing and the Sound Film
			General
			Who Edits a Film?
				The Order of Shots
				Selection of Camera Set-ups: Emphasis
				Timing
				Presentation: Smoothness
			The Contribution of Editing
			Special Styles of Editing
	SECTION 2 THE PRACTISE OF EDITING
		Chapter 3 Action Sequences
		Chapter 4 Dialogue Sequences
		Chapter 5 Comedy Sequences
		Chapter 6 Montage Sequences
		Chapter 7 Documentary Reportage
		Chapter 8 Imaginative Documentary
		Chapter 9 The Documentary Film of Ideas
		Chapter 10 The Documentary and the Use of Sound
		Chapter 11 Educational Films
		Chapter 12 Newsreels
		Chapter 13 The Compilation Film
	SECTION 3 PRINCIPLES OF EDITING
		Chapter 14 Editing the Picture
			General
			Constructing a Lucid Continuity: Smoothness
				Matching Consecutive Actions
				Extent of Change in Image Size and Angle
				Preserving a Sense of Direction
				Preserving a Clear Continuity
				Matching Tone
				Making Sound Flow Over a Cut
			Timing
			Pace: Rhythm
			Selection of Shots
		Chapter 15 Sound Editing
			General
			Analysis of a Sound-Track
			Sound and the Editing of the Picture
PART II
	SECTION 4 THE FIFTIES AND SIXTIES
		Introduction
		Chapter 16 Widescreen
			General
			River of No Return
			André Bazin
			Widescreen Examples
		Chapter 17 Cinéma-Vérité and the Documentary Film of Ideas
			Cinéma-Vérité
			Chronique d'un Eté
			Le Joli Mai
			Hôtel des Invalides
		Chapter 18 Nouvelle Vague
			Caméra-Stylo
			New Wave
		Chapter 19 Personal Cinema in the Sixties
			François Truffaut
			Jean-Luc Godard
			Alain Resnais
			Michelangelo Antonioni
CONCLUSION
APPENDIX
BIBLIOGRAPHY
CUTTING ROOM PROCEDURE
	Synchronisation of Rushes
	Editing the Film
	Opticals
	Sound Editing
GLOSSARY OF TERMS
	A
	B
	C
	D
	E
	F
	I
	J
	K
	L
	M
	N
	O
	P
	R
	S
	T
	W
	Z
INDEX
	A
	B
	C
	D
	E
	F
	G
	H
	I
	J
	K
	L
	M
	N
	O
	P
	Q
	R
	S
	T
	U
	V
	W
	Y
	Z
                        
Document Text Contents
Page 2

The Technique of Film Editing
Second Edition

Page 184

161

Chapter 12: Newsreels

shots, as well as presupposing a knowledge of editing technique. To say this is not to belittle the diffi culty and
importance of the newsreel editor’s work; it is simply to point to a difference in function.

Just as we do not expect to fi nd the beautiful simile or poetic image in the columns of the morning papers,
so we do not fi nd a subtle aesthetic interpretation of events in a newsreel. The editing is designed to present
interesting essentials and such sidelights on the news as will make the story faster and more exciting — often
much more so than the actual event being presented. To see, for instance, a boxing contest with its long peri-
ods of preparation and inactivity, and to compare it to the excitement of a well-presented fi ght in a newsreel,
is to acknowledge the effectiveness of an editing technique perfectly suited to its purpose.

Page 185

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Page 368

345

Index

Old and New , 17 , 127 , 133
On the Bowery , 250
On the Town , 96
Once A Jolly Swagman , 56 – 60 , 203
Opticals , 330
Orfeu Negro , 272
Orrom, Michael , 171
Osbiston, Alan , 129
Overlanders, The , 174

P
Pabst , 30
Pagnol, Marcel , 40
Paris Vu Par … , 251
Parker, Clifton , 176
Parrain, Brice , 297
Passionate Friends , The , 189 , 197 , 204 , 227

extract , 69 – 74
Pat , 224 , 226
Path é Newsreel , 155 – 61
Patterson, Elizabeth , 212
Peaceful Years, The , 170

extract , 166 – 7 , 169
Pearson, Gabriel , 275
Peau Douce, La , 277
Pennebaker, Donald , 251
Perkins, V. F. , 237
Personal Cinema , 277 – 322
Picture, editing , 179 – 213
Pierrot le Fou , 291 , 300
Pip , 200 , 201
Plough that Broke the Plains, The , 135
Porter, Edwin S. , 4 , 7 , 9 , 49
Post-synchronising , 330 – 1
Pour Construire Un Feu , 236
Preminger, Otto , 237
Presentation, smoothness , 30 – 8
Preston Sturges , 39 , 40
Prevert, Jacques , 39
Primary , 251
Pudovkin , 12 , 13 , 106
Pull My Daisy , 250
Pushkin , 44 , 206
Pygmalion , 96

Q
Quai des Brumes , 39
Que Viva Mexico , 127
Queen Christina , 40 , 77
Queen of Spades , The , 44 , 213 , 225 , 226

extract , 206 – 7 , 209 – 10
Qu’est-ce que le Cin é ma? , 238

R
Raimu , 40
Ray, Nicholas , 239
Reaction shots , 49 , 60 , 77 , 196
Rebel Without a Cause , 239
Red River , 174 , 205
Reed, Carol , 87 , 219
Renoir, Jean , 236 , 249
Reportage , 97 – 106
Resnais, Alain , 301 – 9
Rhode, Eric , 275 , 300
Rhythm , 201 – 6
Rise of the American Film, The , 5 , 6 , 43
River of No Return , 237 – 8
Robbe-Grillet, Alain , 301 , 302
Robe , The , 236
Roc, Patricia , 226
Rogosin, Lionel , 250
Rope , 194 , 195 , 196
Rossellini, R. , 238
Rotha, Paul , 25 , 97 , 98 , 135 , 171
Rouch, Jean , 250 , 251 , 252 , 253 , 261
Rushes , 154 , 329
Russian montage and modern montage sequence

similarity between , 87

S
Sadoul, Georges , 4
Sandro , 316 , 317 , 319
Saroyan, Edouard , 279 , 286
Scott of the Antarctic , 97
Seldes , 163
Sense of direction , 186 – 8
Set-up, The , 29 , 85
Shadows , 250

Page 369

346

Index

Shoot the Pianist , 273 – 4 , 277 , 278 , 279
extract , 280 – 4

Shots
order of , 28
selection , 206 – 13

Showman , 151 , 153
Sidney, sylvia , 218
Sight and Sound , 225 , 236 , 237 , 280 , 290 , 298
Signora Senza Camelie, La , 318
Silent fi lm and editing , 3 – 23
Sleep , 251
Smooth cutting , 181 , 193
Song of Ceylon , 44 , 45 , 127 , 128 – 9 , 132 , 135
Sound

and documentary fi lm , 135 – 40
and editing of picture , 226 – 7
editing , 215 – 27 , 328 – 9

Sound fi lm, editing , 25
Sound-track analysis , 218 – 26
Spaak , 271
Spanish Earth , 107
Special styles, of editing , 41 – 5
Star is Born, A , 242 , 247
State of the Union , 204
Story-fi lms vs. documentary fi lm , 97
Stroheim , 238
Sturges, Preston , 39 , 40 – 1
Superfi cial impression , 201 – 2

T
Teaching fi lm vs. instructional fi lm , 141
Theory of editing , 206
They Came to a City , 192
Third Man, The , 86 , 87 , 197
Thirty-nine Steps , 86
This is America , 163
Three Songs about Lenin , 163
Timing , 29 – 30 , 193 – 201
Tirez sur le Pianiste , see Shoot the Pianist
Tobacco Road , 211 , 212 , 213
Todd, Ann , 227
Topper Returns , 67 , 197

extract , 66 , 81 – 3
True Glory, The , 164

Truffaut, Fran ç ois , 277 – 90
Truman, Michael , 192

U
Ullman , 163
Une Femme Mari é e , 300

V
Van Dongen, Helen , 107 , 108 , 111 , 113 , 122 , 250
Varda, Agnes , 274
Variable screen , 236
Vertov, Dziga , 163
Victory in the West , 163 , 164
Visconti , 238
Visiteurs du Soir , Les , 39 , 40
Vivre Sa Vie , 297 , 298 , 299

W
Warhol, Andy , 251
Watering the Gardener , 4
Watt, Harry , 137
Weatherwax, Paul , 50
Welles, Orson , 39 , 87 , 89 , 210 , 212
Why We Fight , 163 , 164
Widescreen , 235 – 9

examples , 239 – 47
Wild River , 242 , 247
Wilkinson, Hazel , 206
Wipe , 204
Wise, Robert , 89
Words for Battle , 133
World and his Wife , The , 204
World is Rich, The

extract , 171 – 4
Wright, Basil , 44 , 127 , 135
Wright’s , 44
Wyler , 238

Y
You Only Live Once , 218

Z
Zora, Eva , 253

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