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ISBN 10: 1138628409
ISBN 13: 978-1138628403
Author: Ken Dancyger
This updated sixth edition of The Technique of Film and Video Editing provides a detailed, precise look at the artistic and aesthetic principles and practices of editing for both picture and sound. Ken Dancyger puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice across a range of genres, including action, comedy, drama, documentary and experimental forms, featuring analysis of dozens of classic and contemporary films.
This new sixth edition includes new chapters on the influence of other media on the editing form, on the importance of surprise in editing, on the contributions of Robert Altman to the art of editing and on the experimental documentary. This edition also includes expanded coverage in technology, creative sound, point of view, and the long take. New case studies explore Whiplash (2014), Room (2015), Lincoln (2012), Tangerine (2015), The Beaches of Agnès (2008), American Sniper (2014), Son of Saul (2015), The Revenant (2015), and many more.
The Technique of Film and Video Editing 6th Table of contents:
Section 1: History of Film Editing
CHAPTER 1 The Silent Period
Edwin S. Porter: Film Continuity Begins
D. W. Griffith: Dramatic Construction
International Perspectives
Vsevolod I. Pudovkin: Constructive Editing and Heightened Realism
Sergei Eisenstein: The Theory of Montage
Metric Montage
Rhythmic Montage
Tonal Montage
Overtonal Montage
Intellectual Montage
Eisenstein: Theoretician and Aesthete
Dziga Vertov: The Experiment of Realism
Alexander Dovzhenko: Editing by Visual Association
Luis Buñuel: Visual Discontinuity
Conclusion
Notes/References
CHAPTER 2 The Early Sound Film
Technological Limitations
Technological Improvements
Theoretical Issues Concerning Sound
Early Experiment in Sound—Alfred Hitchcock’s Blackmail
Sound, Time, and Place: Fritz Lang’s M
The Dynamic of Sound: Rouben Mamoulian’s Applause
Conclusion
Notes/References
CHAPTER 3 The Influence of the Documentary
Ideas About Society
Robert Flaherty and Man of Aran
Basil Wright and Night Mail
Pare Lorentz and The Plow That Broke the Plains
Ideas About Art and Culture
Leni Riefenstahl and Olympia
W. S. Van Dyke and The City
Ideas About War and Society
Frank Capra and Why We Fight
Humphrey Jennings and A Diary For Timothy
Conclusion
Notes/References
CHAPTER 4 The Influence of the Popular Arts
Vaudeville
The Musical
The Theatre
Radio
Notes/References
CHAPTER 5 The Influence of Other Arts
The Photograph
The Play
The Concert
CHAPTER 6 Editors Who Became Directors
Robert Wise
The Set-Up
I Want to Live!
West Side Story
David Lean
Lean’s Technique
Lean’s Art
CHAPTER 7 Experiments in Editing: Alfred Hitchcock
A Simple Introduction: Parallel Action
A Dramatic Punctuation: The Sound Cut
Dramatic Discovery: Cutting on Motion
Suspense: The Extreme Long Shot
Levels of Meaning: The Cutaway
Intensity: The Close-Up
The Moment as Eternity: The Extreme Close-Up
Dramatic Time and Pace
The Unity of Sound
The Orthodoxy of the Visual: The Chase
Dreamstates: Subjectivity and Motion
Conclusion
Notes/References
CHAPTER 8 Experiments In Editing II: Robert Altman
McCabe and Mrs. Miller
The Company
Nashville
Short Cuts
CHAPTER 9 New Technologies
The Wide Screen
Character and Environment
Relationships
Relationships and the Environment
The Background
The Wide Screen After 1960
Cinéma Vérité
Cell-Phone Cinema
Preproduction
Production
Postproduction
Notes/References
CHAPTER 10 International Advances
The Dynamics of Relativity
The Jump Cut and Discontinuity
Objective Anarchy: Jean-Luc Godard
Melding Past and Present: Alain Resnais
Interior Life as External Landscape
Notes/References
CHAPTER 11 The Influence of Television and Theatre
Television
Theatre
Notes/References
CHAPTER 12 New Challenges to Filmic Narrative Conventions
Peckinpah: Alienation and Anarchy
Altman: The Freedom of Chaos
Kubrick: New Worlds and Old
Herzog: Other Worlds
Scorsese: The Dramatic Document
Wenders: Mixing Popular and Fine Art
Lee: Pace and Social Action
Von Trotta: Feminism and Politics
Feminism and Antinarrative Editing
Mixing Genres
Notes/References
CHAPTER 13 The MTV Influence on Editing I
Origins
The Short Film
Where We Are Now—The State of the MTV Style
The Importance of Feeling States
The Downgrading of the Plot
Disjunctive Editing—The Obliteration of Time and Space
The Self-Reflexive Dream State
The Media Look at Themselves
Oliver Stone’s Career
Natural Born Killers
CHAPTER 14 The MTV Influence on Editing II
The Case of Saving Private Ryan
The Case of Ang Lee’s Crouching Tiger, Hidden Dragon
The Set-Pieces
The Case of In the Mood for Love
The MTV Style of In the Mood for Love
The Case of Life Is Beautiful
The Set-Pieces in Life Is Beautiful
The Case of Tampopo
The Set-Pieces in Tampopo
Conclusion
Note/Reference
CHAPTER 15 Changes in Pace
Evolution of Pace in Filmmaking
Pace in the Docudrama
Pace in the Thriller
Pace in the Action-Adventure
Pace in the Musical
Anti-Pace in Tarantino’s Inglourious Basterds
The Long Take
Point of View
Conclusion
CHAPTER 16 The Appropriation of Style I: Imitation and Innovation
Narrative and Style
Style for Its Own Sake
Breaking Expectations
Imitation Versus Innovation
Imitation and Innovation
CHAPTER 17 The Appropriation of Style II: Limitation and Innovation
The Elevation of Cinéma Vérité
The Return of Mise-En-Scène
The Close-Up and the Long Shot
Camera Placement and Pace: The Intervention of Subjective States
Note/Reference
CHAPTER 18 The Appropriation of Style III: Digital Reality
Artificial Reality
Video Over Film
Constructed Artifice
The Imagined as the Observational
Use of Spectacle
Use of Special Effects
Realism
Section 2: Goals Of Editing
CHAPTER 19 Editing for Narrative Clarity
The Plot-Driven Film
Five Fingers
Mountains of the Moon
Invictus
The Character-Driven Film
Hannah and Her Sisters
Valmont
Hero
The Case of The Hours
The Case of Atonement
CHAPTER 20 Editing for Dramatic Emphasis
United 93
The Docudrama Effect
The Close-Up
Dynamic Montage
Juxtaposition
Pace
Frost/Nixon
Different Goals, Different Strategies
The Close-Up
Dynamic Montage
Juxtaposition
Pace
CHAPTER 21 Editing for Subtext
The Departed
Lust, Caution
There Will Be Blood
CHAPTER 22 Editing for Surprise
The Case of American Sniper (2014): The Conflicted Goal
The Case of Daniel (1983): The Dominance of The Past in the Present
The Case of Rachel Getting Married (2008): Celebration and Tragedy
The Case of Carol (2015): The Inner Life
CHAPTER 23 Editing for Aesthetics
Brighton Rock
The Third Man
The Passion of the Christ
Section 3: Editing for the Genre
CHAPTER 24 Action
The Contemporary Context
The General: An Early Action Sequence
Raiders of The Lost Ark: A Contemporary Action Sequence
The Bourne Ultimatum: The Ultimate Use of Pace in an Action Sequence
Case Study: A History of Violence: An Alternative Action Sequence
Notes/References
CHAPTER 25 Dialog
Dialog and Plot
Dialog and Character
Multipurpose Dialog
Trouble in Paradise: An Early Dialog Sequence
Chinatown: A Contemporary Dialog Sequence
Michael Clayton: Dialog as Transformative Device
Note/Reference
CHAPTER 26 Comedy
Character Comedy
Situation Comedy
Satire
Farce
Editing Concerns
The Comedy Director
The Past: The Lady Eve—The Early Comedy of Role Reversal
The Present: Victor/Victoria—A Contemporary Comedy of Role Reversal
Forgetting Sarah Marshall: Emotional Role Reversal
Conclusion
Notes/References
CHAPTER 27 Documentary
Questions of Ethics, Politics, and Aesthetics
Analysis of Documentary Sequences—Memorandum
Simple Continuity and the Influence of the Narrator
The Transitional Sequence
The Archival Sequence
A Sequence with Little Narration
The Reportage Sequence
Notes/References
CHAPTER 28 Imaginative Documentary
Altering Meaning Away from the Literal
The Wartime Documentary: Imagination and Propaganda
The Case of Listen to Britain
Conclusion
Notes/References
CHAPTER 29 Innovation in Documentary I
The Personal Documentary
Changes in the Use of Narration
The Narrator as Observer
The Narrator as Investigator
The Narrator as Guide
The Narrator as Provocateur
Conclusion
CHAPTER 30 Innovations in Documentary II
CHAPTER 31 Innovation in Documentary III: The Experimental Documentary
The Beaches of Agnès (2008), Agnès Varda
Your Day is My Night (2013), Lynn Sachs
Nulepsy (2010), Jessica Sarah Rinland
Rat Life and Diet in North America (1968), Joyce Wieland
Riddles of the Sphinx (1977), Laura Mulvey and Peter Wollen
Section 4: Principles of Editing
CHAPTER 32 The Picture Edit and Continuity
Constructing a Lucid Continuity
Providing Adequate Coverage
Matching Action
Preserving Screen Direction
Setting the Scene
Matching Tone
Matching Flow Over a Cut
Change in Location
Change in Scene
Notes/References
CHAPTER 33 The Picture Edit and Pace
Timing
Rhythm
Time and Place
The Possibilities of Randomness Upon Pace
Note/Reference
CHAPTER 34 Ideas and Sound
Music
Sound Effects
Dialog
Francis Ford Coppola: Experimentation with Sound
Alejandro González Iñárritu’s The Revenant
Notes/References
CHAPTER 35 The Sound Edit and Clarity
General Goals of the Sound Edit
Specific Goals of the Sound Edit
Realism as a Goal
Dialog as Sound
The Sound Edit and the Dramatic Core
The Sound Edit and the Picture Edit
CHAPTER 36 The Sound Edit and Creative Sound
Punctuation
Amplification
Amplification to Expand Meaning
Amplification to Challenge Meaning
Transition and Sound
Music
Tone Through Sound
The Narrative Idea and Sound
Tone and Narrative Ideas Through Sound
Notes/References
CHAPTER 37 Innovations of Sound
CHAPTER 38 Nonlinear Editing and Digital Technology I
The Technological Revolution
The Limits of Technology
The Aesthetic Opportunities
The Nonlinear Narrative
Past Reliance on Linearity
A Philosophy of Nonlinearity
The Artists of Nonlinear Narrative
Note/Reference
CHAPTER 39 Nonlinear Editing and Digital Technology II
The Framework
The Case of The Ice Storm
The Case of Happiness
The Case of The Thin Red Line
The Case of Magnolia
Notes/References
CHAPTER 40 Conclusion
FILMOGRAPHY
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