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Making A Story Move: The Art of Film Editing
An in-depth treatise on the process of film editing, featuring 16 original interviews from renowned editors. These editors share insight and anecdotes about the daily joys and difficulties of their careers (and the professional principles they subscribe to), as well as the creative, interpersonal, and technical challenges they constantly face. Discussion of the "MTV influence" behind modern film editing is offered, and this influence is explored in filmmaking history. Advice and inspiration is also shared for the benefit of future film editors; Hollywood editors tell their own stories about how they thrived in a notoriously-difficult field, and what it would take for an aspiring editor to do the same.
Film editing: discovering the syntax of cinema
Once shooting is over, the process of filmmaking is only half way through: in post-production, editing becomes of paramount importance. Just as words, phrases and sentences are assembled to make up a whole text, shots, scenes and sequences are put together to reach what has become known as "the final cut". By examining excerpts from such films as "Breakfast at Tiffany's", "Ciizen Kane" and "Mission": impossible, this Dossier sets out to discover the multiple ways in which time, space and logical relationships are treated through editing in order to interact with other aspects of film language, thus ensuring a film's continuity.
Film Editing: Emotion, Performance, Story - Sample
Film Editing: Emotion, Performance, Story, 2021
Combining history, practice, and theory, FILM EDITING: EMOTION, PERFORMANCE, STORY, investigates why certain editorial decisions can encourage the emotional and narrative engagement of the viewer. Examples from features, short films and commercials support a textual and visual analysis of different editing styles and techniques to provide editors with a context on which to build their practice. This book takes a discursive approach exploring the many options open to the editor whether this is the fine point at which to cut or the exact structuring of scenes within a whole film. Examples are closely analysed and discussed using frame grabs, graphics and plans. Discussions on our psychological and cognitive behaviour are opened and questions are raised about how certain picture and sound configurations can guide the viewer to connect emotionally with the story and the characters. Interspersed with chapters on the fundamental tools of editing; Montage, Continuity, Sound and Performance are studies of three editing strategies. Each is a method of persuasion that the editor can use to elicit a response in the audience, whether that is sympathy for a character or their belief in the fictional world. The three chapters concentrate on the use of parallel action in creating tension and sympathy, the use of the perceptual and mental point of view and how the interpretation of rhythm can influence empathy and engagement. The focus of the book is on the process of editing, the how and the why, in the recognition that it is a dialogue between the editor and the viewer.
A Phenomenological Approach to the Film Editing Practice: Legacy of Maurice Merleau-Ponty
2019
A phenomenological look on film editing through Merleau-Ponty’s ideas opens up a new way of seeing what editing is and how it affects the spectator. In the classical sense, editing is looked at technically where certain aspects of its use in the film’s language are interpreted and analyzed to understand why and how something is done. In this thesis, the aim is to not dwell on understanding the why and the how. The aim is to view film editing from a different perspective that might lead to another type of thinking outside the limitations of empirical and intellectualist approaches. While the classical approach is able to satisfy most of what a spectator would need to understand, it falls short on what the spectator feels and experiences. In order to try to grasp how Merleau-Ponty’s phenomenological approach could be adapted to film editing. First we have to start from the beginning to see how editing came to be and what ideas, approaches and techniques it brought with it. As all the approaches have their own uses; we have to consider them as such and lay out what could be with Merleau-Ponty’s way and see how all the approaches compare in the end. Of course, this does not mean erasing all of film history and disregarding the classical way; it means that we can look at films from a perspective that the classical approach may not be able to see. Keywords: film history, film theory, film editing, phenomenology, perception, experience, body, spectator.
The International Journal of Visual Design, 2017
This article investigates the role of perception in film editing, considered as audiovisual design work. The study is an observation of a film editor editing a documentary film sequence, where the perceptual phenomena at stake at edit points are scrutinized, with reference to perception theory. The results show that the film editor's design goal is to achieve perceptual precision for each edit, either for continuity or for discontinuity, accordingly. The more perceptual phenomena per edit, the more time and the more processing the editor has to spend on the edit until satisfied with the result. This knowledge is of importance to inexperienced film editors in order to make the editing process faster and more precise and thus shorten production time. In the wider design context, other design activities are indicated to find inspiration for future research in this study, regarding perceptual phenomena and gaze framing during design processes.