Cutting Rhythms
Shaping the Film Edit
- 1st Edition - March 20, 2009
- Imprint: Focal Press
- Author: Karen Pearlman
- Language: English
- eBook ISBN:9 7 8 - 0 - 0 8 - 0 9 2 7 7 6 - 3
There are many books on the technical aspects of film and video editing: e.g., how to use software packages like Final Cut Pro and Avid. Much rarer are books on how an editor… Read more
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There are many books on the technical aspects of film and video editing: e.g., how to use software packages like Final Cut Pro and Avid. Much rarer are books on how an editor thinks and makes decisions. Faced with hundreds of hours of raw footage, a film editor must craft the pieces into a coherent whole. Rhythm is a fundamental tool of the film editor; when a filmmaker adjust the length of shots in relation to one another, he or she affects the entire pace, structure, and mood of the film. Until this book, rhythm was considered a matter of intuition; good editors should just 'know' when to make a cut.
Cutting Rhythms breaks down the issue of rhythm in an accessible way that allows filmmakers to apply the principles to their own work and increase their creativity. This book offers possibilities rather than prescriptions. It presents questions editors or filmmakers can ask themselves about their work, and a clear and useful vocabulary for working with those questions.
Filled with timeless principles and thought-provoking examples from a variety of international films, this book is destined to become a staple in the filmmaker's library.
Cutting Rhythms breaks down the issue of rhythm in an accessible way that allows filmmakers to apply the principles to their own work and increase their creativity. This book offers possibilities rather than prescriptions. It presents questions editors or filmmakers can ask themselves about their work, and a clear and useful vocabulary for working with those questions.
Filled with timeless principles and thought-provoking examples from a variety of international films, this book is destined to become a staple in the filmmaker's library.
* This is the only book to address the issue of rhythm in film editing. It's what separates an OK film from a great one!
* Easy-to-apply principles that will translate to better work. Don't just guess where to make a cut--read this book.
* Examples from a range of international films show you practical illustrations of the concepts at work.
* Easy-to-apply principles that will translate to better work. Don't just guess where to make a cut--read this book.
* Examples from a range of international films show you practical illustrations of the concepts at work.
Film students; aspiring and professional filmmakers and editors
Chapter 1. Rhythmic Intuition
Chapter 2. Editing as Choreography
Chapter 3. Timing, Pacing and Trajectory Phrasing
Chapter 4. Tension, Release and Synchronisation
Chapter 5. Physical, Emotional and Event Rhythm
Chapter 6. Physical Rhythm
Chapter 7. Emotional Rhythm
Chapter 8. Event Rhythm
Chapter 9. Montage and Decoupage
Chapter 10. Common Scenes
Chapter 11. Devices
Chapter 12. Conclusion
Index and Bibliography
Chapter 2. Editing as Choreography
Chapter 3. Timing, Pacing and Trajectory Phrasing
Chapter 4. Tension, Release and Synchronisation
Chapter 5. Physical, Emotional and Event Rhythm
Chapter 6. Physical Rhythm
Chapter 7. Emotional Rhythm
Chapter 8. Event Rhythm
Chapter 9. Montage and Decoupage
Chapter 10. Common Scenes
Chapter 11. Devices
Chapter 12. Conclusion
Index and Bibliography
- Edition: 1
- Published: March 20, 2009
- Imprint: Focal Press
- Language: English
KP
Karen Pearlman
Karen Pearlman is Head of Screen Studies at the Australian Film, Television and Radio School, and a freelance film editor who cuts drama, documentary, and experimental projects. She has edited many award-winning shorts, and is also co-founder of The Physical TV Company, which specializes in the creation of dance on screen.
Affiliations and expertise
Karen Pearlman is Head of Screen Studies at the Australian Film, Television and Radio School, and a freelance film editor who cuts drama, documentary, and experimental projects. She has edited many award-winning shorts, and is also co-founder of The Physical TV Company, which specializes in the creation of dance on screen.