CHAPTER 28
The Picture Edit and Continuity
Much has been written suggesting that the art of film is editing,1 and numerous filmmakers from Eisenstein to Welles to Peckinpah have tried to prove this point. However, just as much has been written suggesting that the art of film is avoidance of editing,2 and filmmakers from Renoir to Ophuls to Kubrick have tried to prove that point. No one has managed to reconcile these theoretical opposites; this fascinating, continuing debate has led to excellent scholarship,3 but not to a definitive resolution. Both factions, however, work with the same fundamental unit: the shot. No matter how useful a theoretical position may be, it is the practical challenge of the director and the editor to work with ...
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