Film and video editing theory : how editing creates meaning / Michael Frierson.
"Film and Video Editing Theory offers an accessible, introductory guide to the practices used to create meaning through editing. In this book, Michael Frierson synthesizes the theories of the most prominent film editors and scholars, from Herbert Zettl and Noel Burch to the work of landmark Hol...
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Full Text (via Taylor & Francis) |
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| Main Author: | |
| Format: | eBook |
| Language: | English |
| Published: |
New York :
Routledge, Taylor & Francis Group,
2018.
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| Edition: | First edition. |
| Subjects: |
MARC
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| 100 | 1 | |a Frierson, Michael, |e author. | |
| 245 | 1 | 0 | |a Film and video editing theory : |b how editing creates meaning / |c Michael Frierson. |
| 250 | |a First edition. | ||
| 264 | 1 | |a New York : |b Routledge, Taylor & Francis Group, |c 2018. | |
| 264 | 4 | |c ©2018. | |
| 300 | |a 1 online resource (xvii, 327 pages) : |b illustrations. | ||
| 336 | |a text |b txt |2 rdacontent. | ||
| 337 | |a computer |b c |2 rdamedia. | ||
| 338 | |a online resource |b cr |2 rdacarrier. | ||
| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a 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. | |
| 505 | 8 | |a Deductive Versus Inductive Sequencing and Screen ResolutionConclusion; 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. | |
| 505 | 8 | |a 3 Hollywood Theorists: Edward Dmytryk and Walter MurchEdward Dmytryk; Six Rules for The Ideal Cut; Walter Murch: Six Criteria for the Ideal Cut; March 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. | |
| 505 | 8 | |a Case C: Simultaneous Events, Successive PresentationCase 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. | |
| 505 | 8 | |a Eisenstein's ContemporariesDziga 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. | |
| 520 | 2 | |a "Film and Video Editing Theory offers an accessible, introductory guide to the practices used to create meaning through editing. In this book, Michael Frierson synthesizes the theories of the most prominent film editors and scholars, from Herbert Zettl and Noel Burch to the work of landmark Hollywood editors like Walter Murch and Edward Dmytryk. In so doing, he maps out a set of craft principles for readers, whether one is debating if a flashback reveals too much, if a certain cut clarifies or obscures the space of a scene, or if a shot needs to be trimmed. The book is grounded in the unity of theory and practice, looking beyond technical proficiency in a specific software to explain to readers how and why certain cuts work or don't work. A companion website offers further resources, including video clips that readers can download and experiment with to illustrate specific editing concepts."--Provided by publisher. | |
| 588 | 0 | |a Print version record. | |
| 650 | 0 | |a Motion pictures |x Editing. | |
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| 776 | 0 | |z 9781315475004 |z 9781315474991. | |
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