- 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
- 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
- 7 Dream and Ritual: Andrei Tarkovsky and Maya Deren
- 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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