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List of Figures
by Michael Frierson
Film and Video Editing Theory
Cover
Title
Copyright
Dedication
Contents
List of Figures
Preface
Acknowledgments
1 Herbert Zettl, Approaches to Building Screen Space and Vectors
Approaches to Building Screen Space
Graphic Vectors and Index Vectors: Continuity and Discontinuity
180° Rule: Continuity at the Production Stage
Motion Vectors: Continuing, Converging
A Special Case: Continuity with Z-axis Index Vectors and Z-axis Motion Vectors
Broader Views for Building Screen Space
Ways of Looking: Looking at, Looking into, Creating an Event
Inductive Versus Deductive Approaches to Building Screen Space
Deductive Versus Inductive Sequencing and Screen Resolution
Conclusion
2 Noël Burch, PMR Versus IMR and Continuity Editing in a 5 × 3 Matrix
IMR Versus PMR
Edwin S. Porter and the PMR
Découpage and Burch's Matrix
The Temporal Axis: Temporal Relations between Outgoing Shot A and Incoming Shot B
Temporal Continuity
Temporal Reversal
Temporal Ellipsis
The Flashforward: A Relatively Rare Occurrence
The Spatial Axis: Spatial Relations between Outgoing Shot A and Incoming Shot B
Applying Burch's Matrix to Welles and Scorsese
Conclusion
3 Hollywood Theorists: Edward Dmytryk and Walter Murch
Edward Dmytryk
Six Rules for The Ideal Cut
Walter Murch: Six Criteria for the Ideal Cut
Murch and Blink Theory
Conclusion: The Tradition of Dymtryk and Murch
4 David Bordwell, the Narrative Functions of Continuity Editing and Intensified Continuity
Neoformalism Versus Interpretation: Building on Russian Formalism
Story Construction
Editing and Canonic Hollywood Narration
The Temporal Order of Narrative Events
Case A: Simultaneous Events, Simultaneous Presentation
Case B: Successive Events, Simultaneous Presentation
Case C: Simultaneous Events, Successive Presentation
Case D: Successive Events, Successive Presentation
Narrative Functions of Manipulating Temporal Order
The Frequency of Narrative Events
The Duration of Narrative Events
Equivalence: FD = SYD = SCD
Reduction: Ellipsis FD > SYD and SYD = SCD
Reduction: Compression (Fast Motion) FD = SYD and both FD and SYD > SCD
Expansion: Insertion FD < SYD and SYD = SCD
Expansion: Dilation (Slow motion) FD = SYD and both SYD and FD < SCD
Using Slow Motion for Violence
Bordwell on Intensified Continuity
Conclusion
5 Eisenstein and Montage
Eisenstein's Contemporaries
Dziga Vertov (1896–1954)
Lev Kuleshov (1899–1970)
Vsevolod I. Pudovkin (1893–1953)
Pudovkin Versus Eisenstein
What is “Montage”?
Six Usages of the Word “Montage”
Eisenstein's Early Theorizing: The Attraction and Seizing the Spectator
Eisenstein's Later Work: Making Films and Theorizing in the Age of Stalin
Eisenstein's Later Theorizing and Vertical Montage
Conclusion
6 Realism and André Bazin
Early Life, Philosophical Influences and Ciné Clubs
Theorizing Film
Bazin on Rossellini and Paisan
Bazin on De Sica and Bicycle Thieves
Bazin on Welles and Citizen Kane
Bazin on Welles and The Magnificent Ambersons
Bazin on Renoir
Conclusion
7 Dream and Ritual: Andrei Tarkovsky and Maya Deren
Andrei Tarkovsky
Tarkovsky and Time Pressure
Maya Deren
Maya Deren and Meshes of the Afternoon
Conclusion
8 Rhythmic and Graphic Editing
Rhythmic Relations in Editing
Music: Internal or External Rhythm?
External Rhythm: Cutting Rhythm and the Decrease in Average Shot Length
Factors that Control Internal Rhythm
Internal Rhythm: Tempo of the Action
Internal Rhythm: Pattern of Movement and Lens Usage
Internal Rhythm: Camera Placement
Internal Rhythm: Scope of the Shot
Internal Rhythm: Camera Movement
Internal Rhythm: Color
Internal Rhythm: Repeated Forms
External Rhythm: Modification by Transitions
External Rhythm: Dissolves
External Rhythm: Fades
External Rhythm: Wipe
External Rhythm: The Iris
Graphic Relations in Editing
Conclusion
Glossary
Index
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Contents
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Preface
Figures
1.1
The formalizing function of the frame in
Citizen Kane
1.2
Frame as window in
Gladiator
1.3
The x,y,z coordinate system applied to the film frame
1.4
Horizontal graphic vector
1.5
Index vector of a fire hydrant
1.6
Index vectors: skull
1.7
Oblique z-axis “motion” vector
1.8
Low magnitude graphic vector: Brooklyn Bridge
1.9
High magnitude graphic vector: Brooklyn Bridge
1.10
Dominant z-axis vector
1.11
Continuing graphic vector outgoing shot . . .
1.12
Incoming shot
1.13
Discontinuous graphic vector outgoing shot . . .
1.14
Incoming shot
1.15
Continuing index vector outgoing shot . . .
1.16
Incoming shot
1.17
Discontinuous index vector outgoing shot . . .
1.18
Incoming shot
1.19
Continuing index vectors in
Maltese Falcon.
Last frame outgoing shot 1 . . .
1.20
First frame of the incoming shot 2
1.21
Maltese Falcon
: shot 3 reverses the angle
1.22
Maltese Falcon
: shot-reverse shot: outgoing
1.23
Maltese Falcon
: shot-reverse shot: incoming
1.24
Diverging index vectors:
Shop Around the Corner
1.25
The 180° rule
1.26
The Shining
: crossing the 180° line, outgoing shot . . .
1.27
The Shining
: incoming shot
1.28
Establishing shot from
Argo
1.29
Argo
: over-the-shoulder shot from “across the axis”
1.30
Argo
: over-the-shoulder shot from “across the axis”
1.31
Argo
: two-shot “re-establishes”
1.32
Argo
: continuing motion vector outgoing shot . . .
1.33
Argo
: incoming shot
1.34
Gone with the Wind
: converging motion vector outgoing shot . . .
1.35
Gone with the Wind
: incoming shot
1.36
Moonrise Kingdom
: converging motion vector outgoing shot . . .
1.37
Moonrise Kingdom
: incoming shot
1.38
Ferris Bueller
: cutting from a “zero-directionality” z-axis outgoing shot . . .
1.39
Ferris Bueller
: . . . to a x-axis incoming shot
1.40
Moonrise Kingdom
: cutting from a “zero-directionality” z-axis outgoing shot
1.41
Moonrise Kingdom
: to a second z-axis shot . . .
1.42
Moonrise Kingdom
: to a shot with converging x-axis vectors
1.43
Lucy
: cutting from a “zero-directionality” z-axis outgoing shot . . .
1.44
Lucy
: to an incoming shot with a high magnitude x-axis vector field
1.45
Four lines of movement from a z-axis shot
1.46
Occurrence at Owl Creek
: reverse dolly comes to a halt
1.47
Occurrence at Owl Creek
: a “head on” move to the camera in the outgoing shot
1.48
Occurrence at Owl Creek
: cuts to the incoming shot
1.49
The Passion of Joan of Arc
: looking into an event
1.50
Persona
: creating an event
1.51–1.56
The Big Chill
: wider deductive shots intercut with closer inductive shots
1.57
The Big Chill
: the last shot indicates the man being dressed committed suicide
2.1
Primitive Mode of Representation (PMR) in
Jack and the Beanstalk
2.2
Closing tableau:
Jack and the Beanstalk
2.3
Temporal overlap in
Life of an American Fireman
2.4
Temporal overlap in
Life of an American Fireman
: incoming shot 4
2.5
Temporal overlap in
Life of an American Fireman
: shot 8
2.6
Temporal overlap in
Life of an American Fireman
: shot 9
2.7
Creating space graphically in
College Chums
2.8
Nöel Burch “Spatial Temporal Articulations, a 3 × 5 Matrix”
2.9
Flashback/overlapped action for impact in
Mission Impossible 2
: Ethan Hunt uses his mirror to fire on his pursuer
2.10
Flashback/overlapped action for impact in
Mission Impossible 2
: first cut to the pursuer
2.11
Flashback/overlapped action for impact in
Mission Impossible 2
: second cut to the pursuer
2.12
Flashback/Temporal Reversal Measurable in the opening of
Iron Man
: opening scene
2.13
Flashback/Temporal Reversal Measurable in the opening of
Iron Man
: title card reads, “Las Vegas, 36 hours earlier”
2.14
Flashback/Temporal Reversal Indefinite in
Forrest Gump
: Forrest Gump closes his eyes to remember
2.15
Flashback/Temporal Reversal Indefinite in
Forrest Gump
: cut to Forrest as a young boy, striking the same facial expression
2.16
Jump cut in
Breathless
: truck follows Michel
2.17
Jump cut in
Breathless
: cut to the same shot now showing the two cops following
2.18
Jump cut/Temporal Ellipsis Measurable in
The Royal Tenenbaums
: last frame outgoing
2.19
Jump cut/Temporal Ellipsis Measurable in
The Royal Tenenbaums
: first frame incoming
2.20
A carry over dissolve in
Seven Chances
: outgoing
2.21
A carry over dissolve in
Seven Chances
: incoming
2.22
Flashforward/premonition in
Easy Rider
: Wyatt looks around the room
2.23
Flashforward/premonition in
Easy Rider
: cut to plaque
2.24
Flashforward/premonition in
Easy Rider
: cut to aerial shot of fire
2.25
Flashforward/premonition in
Easy Rider
: cut to Wyatt sighing
2.26
Flashforward/thinking ahead in
Sherlock Holmes
2.27
Alternating edits in
The Godfather
2.28
Crosscutting/parallel editing in
The Godfather
: back to the church
2.29
Flashback to the breakfast scene in
Citizen Kane
2.30
Temporal ellipsis within the breakfast scene in
Citizen Kane
2.31
Temporal ellipsis within the breakfast scene in
Citizen Kane
2.32
Freeze frame in
Goodfellas
like “thought tracking”
2.33
Temporal ellipsis in
Goodfellas
: 10:45pm
3.1
An exit/entrance cut
3.2
Overlapping cut for smooth continuity
4.1
The process of film narration
4.2
Simultaneous presentation of narrative events in
Citizen Kane
4.3
Simultaneous presentation of narrative events in
How Green Was My Valley
4.4
How Green Was My Valley
: camera tracks to show the brothers leaving
4.5
Tire triptych in
Grand Prix
4.6
Grand Prix
: single image displacement
4.7
Grand Prix
: 64 panel shot creates a pattern of identical elements composed in a grid
4.8
Grand Prix
: four panel shot as a structuring device
4.9
Split screen in
Requiem for a Dream
4.10
Buffalo '66
: successive events, simultaneous presentation
4.11
Crosscutting in
Inception
: outgoing shot
4.12
Cross cutting in
Inception
: incoming shot
4.13
Inception
: nested narrative montage
4.14
Inception
: Ariadne awakes at the snow level
4.15
Inception
: Ariadne awakes at the hotel level
4.16
Inception
: Ariadne awakes at the van level
4.17
Liberty Valance
: shooting, version 1
4.18
Liberty Valance
: shooting, version 2, recounted enactment
4.19
Liberty Valance
: shooting, new point of view
4.20
Wayne's World
: flashback spoof
4.21
Goodfellas
: multiple enactment, single recounting in the murder of “Stacks”
4.22
High Noon
: equivalent syuzhet and screen durations
4.23
Slow TV: Train Ride Bergen to Oslo
4.24
Last Temptation of Christ
: flaunted temporal ellipsis
4.25
A Clockwork Orange
: fast motion
4.26
Requiem for a Dream
: fast motion
4.27
Man with a Movie Camera
: slow motion
4.28
Seven Samurai
: death in slow motion
4.29
The Devil Wears Prada
: in-camera wipe, the outgoing shot
4.30
The Devil Wears Prada
: in-camera wipe, the incoming shot
5.1
Sequential analytical montage in
Strike
5.2
Hollywood montage in
Citizen Kane
5.3
Sectional analytical montage in
The Wild Bunch
5.4
October
: idea-associative comparison, Kerensky vs. peacock
5.5
October
: idea-associative comparison, Kerensky vs. peacock
5.6
Battleship Potemkin
: idea-associative collision montage
5.7
Battleship Potemkin
, Cossack
5.8
Battleship Potemkin
, Cossack 2
5.9
Battleship Potemkin
, woman
5.10
Artificially produced representation of movement, logical: machine gun
5.11
Machine gunner
5.12
Artificially produced representation of movement, alogical: lion 1
5.13
Battleship Potemkin
, lion 2
5.14
Battleship Potemkin
, lion 3
5.15
October
, soldier in trench
5.16
October
, mechanized gun descends
5,17
October
: metric montage, Savage Division, dancing feet metric montage
5.18
October
: metric montage, Savage Division, spinning bodies
5.19
Methods of Montage
: rhythmic montage
5.20
Methods of Montage
: rhythmic montage
5.21
Battleship Potemkin
, shot 920 menacing shadows
5.22
Battleship Potemkin
, shot 921 mother castigates soldiers
5.23
Battleship Potemkin
, shot 958, line of black boots
5.24
Battleship Potemkin
, shot 959, line of rifles
5.25
Battleship Potemkin
, shot 960, mother hit at carriage
5.26
Battleship Potemkin
, shot 970, rhythmic montage, soldier exit frame
5.27
Battleship Potemkin
, shot 971, soldiers enter “unsynchronized”
5.28
Battleship Potemkin
, tonal montage, shot 645 buoy
5.29
Battleship Potemkin
, shot 646 “oily” water
5.30
The Old and the New
, overtonal montage
5.31
October
, intellectual montage: Gods sequence
5.32
Vertical Montage
diagram
5.33–5.37
The first five shots from “The Battle on the Ice”
6.1
Paisan
: baby cries
6.2
Bicycle Thieves
: camera movement instead of cutting
6.3
Bicycle Thieves
: correspondences
6.4
Bicycle Thieves
: tracking shot and relative positions
6.5
Bicycle Thieves
: staging in depth
6.6
Bicycle Thieves
: staging in depth
6.7
Bicycle Thieves
: medium tracking shot
6.8
Bicycle Thieves
: medium tracking shot
6.9
Citizen Kane
: deep focus trophy
6.10
Citizen Kane
: in camera double exposure
6.11
Citizen Kane
: miniature projection
6.12
A Day in the Country
: creative staging in depth
6.13
A Day in the Country
: a rare close up
7.1
Mirror
: slow motion
7.2
Mirror
: cut on idea from hand . . .
7.3
Mirror
. . . . to a recurring interstitial shot of a hand
7.4
Mirror
: shifting modes of address, from looking at the audience to . . .
7.5
Looking at the father in some other place and time
7.6
Meshes of the Afternoon
: tunnel shot
7.7
Meshes of the Afternoon
: in camera split screen
8.1
Rapid cutting for physical movement in
Mad Max: Fury Road
8.2
Rapid cutting for the collision montage in
Raging Bull
8.3
Internal rhythm: character movement in
Citizen Kane
8.4
Internal rhythm: pattern of movement and lens usage in
Barry Lyndon
8.5
Internal rhythm: telephoto lens in
Tinker Tailor Soldier Spy
8.6
Internal rhythm: wide angle lens in
Aguirre: Wrath of God
8.7
Internal rhythm: low angle placement in
Citizen Kane
8.8
Internal rhythm: high angle placement in
Blowup
8.9
Internal rhythm: high angle placement in
Spartacus
8.10
Internal rhythm: the close up in “Life Lessons”
8.11
Internal rhythm: reverse dolly in
Paths of Glory
8.12
Internal rhythm: tracking shot in
Moonrise Kingdom
8.13
Internal rhythm: handheld camera in
Saving Private Ryan
8.14
Internal rhythm: candle light in
Barry Lyndon
8.15
Internal rhythm: repeated forms in
Alexander Nevsky
8.16
Internal rhythm: repeated forms in
Blowup
8.17
External rhythm: held dissolve in
Sideways
8.18
External rhythm: humorous wipe in
Thicker Than Water
8.19
External rhythm: the wipe in
Rashomon
8.20
External rhythm: spatially integrated wipe in
Highlander
8.21
External rhythm: the iris in
The Artist
8.22
Graphic edit: cut on form and position in
Ran
, outgoing shot
8.23
Ran
, incoming shot
8.24
Graphic edit: cut-on-form, position and action in
All that Jazz
, outgoing shot
8.25
All that Jazz
, incoming shot
8.26
Graphic edit: cut-on-form and position in
2001: A Space Odyssey
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