book

The Technique of Film and Video Editing, 5th Edition

by Ken Dancyger

July 2014

Intermediate to advanced

486 pages

16h 43m

English

Focal Press

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Edwin S. Porter: Film Continuity BeginsD. W. Griffith: Dramatic ConstructionInternational PerspectivesVsevolod I. Pudovkin: Constructive Editing and Heightened RealismSergei Eisenstein: The Theory of MontageMetric MontageRhythmic MontageTonal MontageOvertonal MontageIntellectual MontageEisenstein: Theoretician and AestheteDziga Vertov: The Experiment of RealismAlexander Dovzhenko: Editing by Visual AssociationLuis Buñuel: Visual DiscontinuityConclusion
Technological LimitationsTechnological ImprovementsTheoretical Issues Concerning SoundEarly Experiment in Sound—Alfred Hitchcock's BlackmailSound, Time, and Place: Fritz Lang's MThe Dynamic of Sound: Rouben Mamoulian's ApplauseConclusion
Ideas About SocietyRobert Flaherty and Man of AranBasil Wright and Night MailPare Lorentz and The Plow That Broke the PlainsIdeas About Art and CultureLeni Riefenstahl and OlympiaW. S. Van Dyke and The CityIdeas About War and SocietyFrank Capra and Why We FightHumphrey Jennings and Diary for TimothyConclusion
VaudevilleThe MusicalThe TheatreRadio
Robert WiseTheSet-UpI Want to Live!West Side StoryDavid LeanLean's TechniqueLean's Art
A Simple Introduction: Parallel ActionA Dramatic Punctuation: The Sound CutDramatic Discovery: Cutting on MotionSuspense: The Extreme Long ShotLevels of Meaning: The CutawayIntensity: The Close-upThe Moment as Eternity: The Extreme Close-upDramatic Time and PaceThe Unity of SoundThe Orthodoxy of the Visual: The ChaseDreamstates: Subjectivity and MotionConclusion
The Wide ScreenCharacter and EnvironmentRelationshipsRelationships and the EnvironmentThe BackgroundThe Wide Screen After 1960Cinéma Vérité
The Dynamics of RelativityThe Jump Cut and DiscontinuityObjective Anarchy: Jean-Luc GodardMelding Past and Present: Alain ResnaisInterior Life as External Landscape
TelevisionTheatre
Peckinpah: Alienation and AnarchyAltman: The Freedom of ChaosKubrick: New Worlds and OldHerzog: Other WorldsScorsese: The Dramatic DocumentWenders: Mixing Popular and Fine ArtLee: Pace and Social ActionVon Trotta: Feminism and PoliticsFeminism and Antinarrative EditingMixing Genres
OriginsThe Short FilmWhere We Are Now—The State of the MTV StyleThe Importance of Feeling StatesThe Downgrading of the PlotDisjunctive Editing—The Obliteration of Time and SpaceThe Self-Reflexive Dream StateThe Media Looks at ItselfOliver Stone's CareerNatural Born Killers
The Case of Saving Private RyanThe Case of Ang Lee's Crouching Tiger, Hidden DragonThe Set-PiecesThe Case of In the Mood for LoveThe MTV Style of In the Mood for LoveThe Case of Life Is BeautifulThe Set-Pieces in Life Is BeautifulThe Case of TampopoThe Set-Pieces in TampopoConclusion
Evolution of Pace in FilmmakingPace in the DocudramaPace in the ThrillerPace in the Action-AdventurePace in the MusicalAnti-Pace in Tarantino's Inglourious BasterdsConclusion
Narrative and StyleStyle for Its Own SakeBreaking ExpectationsImitation versus InnovationImitation and Innovation
The Elevation of Cinéma VéritéThe Return of Mise-en-ScèneThe Close-Up and the Long ShotCamera Placement and Pace: The Intervention of Subjective States
Artificial RealityVideo Over FilmConstructed ArtificeThe Imagined as the ObservationalUse of SpectacleUse of Special EffectsRealism
The Plot-Driven FilmFive FingersMountains of the MoonInvictusThe Character-Driven FilmHannah and Her SistersValmontHeroThe Case of TheHoursThe Case of Atonement
United 93The Docudrama EffectThe Close-upDynamic MontageJuxtapositionPaceFrost/NixonDifferent Goals, Different StrategiesThe Close-upDynamic MontageJuxtapositionPace
The DepartedLust, CautionThere Will Be Blood
Brighton RockThe Third ManThe Passion
The Contemporary ContextThe General: An Early Action SequenceRaiders of the Lost Ark: A Contemporary Action SequenceThe Bourne Ultimatum: The Ultimate Use of Pace in an Action SequenceCase Study: A History of Violence: An Alternative Action Sequence
Dialog and PlotDialog and CharacterMultipurpose DialogTrouble in Paradise: An Early Dialog SequenceChinatown: A Contemporary Dialog SequenceMichael Clayton: Dialog as Transformative Device
Character ComedySituation ComedySatireFarceEditing ConcernsThe Comedy DirectorThe Past: The Lady Eve—The Early Comedy of Role ReversalThe Present: Victor Victoria—A Contemporary Comedy of Role ReversalForgetting Sarah Marshall: Emotional Role ReversalConclusion
Questions of Ethics, Politics, and AestheticsAnalysis of Documentary Sequences—MemorandumSimple Continuity and the Influence of the NarratorThe Transitional SequenceThe Archival SequenceA Sequence with Little NarrationThe Reportage Sequence
Altering Meaning Away from the LiteralThe Wartime Documentary: Imagination and PropagandaThe Case of Listen to BritainConclusion
The Personal DocumentaryChanges in the Use of NarrationThe Narrator as ObserverThe Narrator as InvestigatorThe Narrator as GuideThe Narrator as ProvocateurConclusion
Constructing a Lucid ContinuityProviding Adequate CoverageMatching ActionPreserving Screen DirectionSetting the SceneMatching ToneMatching Flow Over a CutChange in LocationChange in Scene
TimingRhythmTime and PlaceThe Possibilities of Randomness Upon Pace
The Technological RevolutionThe Limits of TechnologyThe Aesthetic OpportunitiesThe Nonlinear NarrativePast Reliance on LinearityA Philosophy of NonlinearityThe Artists of Nonlinear Narrative
The FrameworkThe Case of The Ice StormThe Case of HappinessThe Case of The Thin Red LineThe Case of Magnolia