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

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

by Karel Reisz, GAVIN MILLAR
Released August 2009
Publisher(s): Focal Press
ISBN: 9780240521985

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Book description

Enhanced version of the seminal text on editing includes a new foreword, a new afterword, a revamped cover and layout, as well as a lower price!

The single most comprehensive and engaging volume on film editing. Reisz and Millar introduce readers to every aspect of the editor’s craft, providing a concise history of editing and describing editing style as it applies to every genre of moviemaking, including many types of narrative and documentary films. The particular demands of wide-screen filmmaking, cinema verite, and the avant-garde are also covered.

Reisz and Millar’s account of the differences between smooth and abrupt editing and their remarkable sense of editing for dramatic effect rather than for realism make this book essential for apprentice editors, as well as those who want to know how filmmakers understand their work.



* New foreword and a new afterword * New layout features wider trim for easier readability and more ideal figure placement, while sidebars and tips call-outs provide quick-access to key concepts and ideas * Enhanced version and at a lower price

Table of contents

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

Product information

  • Title: Technique of Film Editing, Reissue of 2nd Edition, 2nd Edition
  • Author(s): Karel Reisz, GAVIN MILLAR
  • Release date: August 2009
  • Publisher(s): Focal Press
  • ISBN: 9780240521985