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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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Prev
Previous Chapter
Dedication
Next
Next Chapter
List of Figures
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
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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Guide
Cover
Title
Copyright
Dedication
Contents
List of Figures
Preface
Acknowledgments
Start of Content
Glossary
Index
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