Cutting Rhythms: Shaping the Film Edit.pdf

Cutting Rhythms: Shaping the Film Edit.pdf


There are many books on the technical aspects of film and video editing. Much rarer are books on how editors think and make decisions. Filled with timeless principles and thought-provoking examples from a variety of international films, Cutting Rythms, Second Edition offers an in-depth study of the film editors' rhythmic creativity and intuition, the processes and tools editors work through to shape rhythms, and the functions of rhythm in film. Rhythm is a fundamental tool of the film editor which can affect the enitre composition of the shot from the mood to pacing. While many believe that creating rhythm is simply about intutition, this book explains that there is much more involved in creating the perfect balance of sound and energy that culminate in the finished scene. This fully revised and updated edition contains: * New chapters on developing intuition and how it can be applied in the field * Advice on making onscreen drafts before finalizing your product * Updated discussions on sound, phrasing, embodied simulation, and more, as well as updated examples of films throughout * Tips on how to keep emotion and motion in the shot while finding the balance for both * An all-new companion website ( with video examples, editing exercises, and raw footage for you to edit with 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 provides 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.

Dr. Karen Pearlman is known for her pioneering work in articulating underlying principles concerning what rhythm in film is, how it is shaped, and the purpose it serves in modulating cycles of tension and release for viewers. She is the Head of Screen Studies at the Australian Film, Television, and Radio School, is co-director of The Physical TV Company, and was elected President of The Australian Screen Editors Guild in 2009.

PREFACE TO THE SECOND EDITION PREFACE TO THE FIRST EDITION ACKNOWLEDGMENTS INTRODUCTION CHAPTER 1 Rhythmic Intuition Intuitive Thinking Movement and Intuition Rhythm is Made of Movement Noticing Movement as Rhythm Feeling Movement's Rhythmic Potential Empathy with Movement: Experience, Body and Brain Being Rhythm & Thinking Rhythmically CHAPTER 2 Editing as Choreography Shifting the Discussion from Music to Pulse Movement Phrases Why Bother with Phrasing? Phrasing Considerations CHAPTER 3 Timing, Pacing, and Trajectory Phrasing Timing Pacing Trajectory Phrasing CHAPTER 4 Tension, Release, and Synchronization Tension and Release Synchronization Case Study in Tension, Release, and Synchronization: Broadcast News CHAPTER 5 Physical, Emotional, and Event Rhythms Three Kinds of Movement Good Editing is Not Invisible CHAPTER 6 Physical Rhythm Re-choreographing Physical Storytelling Dancing Edits Singing the Rhythm Case Study: "Now" Scene from Thursday's Fictions CHAPTER 7 Emotional Rhythm Prepare, Action, Rest The Actor's Actions Beats Case Study: The Hours CHAPTER 8 Event Rhythm First Scenes Dramatic Questions Structures as Event Patterns Energy, Pace and Timing Creating Structure and Rhythm Simultaneously Real Events v. Fictional Events Reintegrating Rhythms Case Study: The Godfather Case Study: Goodfellas CHAPTER 9 Style Thematic Montage Continuity Cutting Points along the Spectrum from Thematic Montage to Continuity Cutting Collision Linkage Points along the Spectrum from Collision to Linkage Style Case Studies Contemporary Style: After the New Wave CHAPTER 10 Devices Parallel Action Parallel Action Case Studies Slow Motion Slow Motion Case Studies Fast Motion Two Quick Fast Motion Case Studies CHAPTER 11 Editing & The Vulcan Mind Meld The Mind Meld Decision Making Responsive Creativity Power and Hierarchy CHAPTER 12 Editing Thinking & Onscreen Drafting Editing Thinking What is an Onscreen Draft Why Draft Rapid Prototyping Embodied Decision Making


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