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Cutting rhythms : intuitive film editing / Karen Pearlman.

By: Material type: TextTextPublication details: New York, NY : Focal Press, 2016.Edition: Second editionDescription: xv, 264 pages : illustrations ; 25 cmISBN:
  • 9781138856516
  • 1138856517
Subject(s): DDC classification:
  • 778.535 PEA
Contents:
Machine generated contents note: ch. 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 and Thinking Rhythmically -- Summary -- ch. 2 Editing as Choreography -- Shifting the Discussion from Music to Movement -- Pulse -- Movement Phrases -- Why Bother with Phrasing? -- Phrasing Considerations -- Summary -- ch. 3 Timing, Pacing, and Trajectory Phrasing -- Timing -- Pacing -- Trajectory Phrasing -- Summary -- ch. 4 Tension, Release, and Synchronization -- Tension and Release -- Synchronization -- Case Study in Tension, Release, and Synchronization: Broadcast News -- Summary -- ch. 5 Physical, Emotional, and Event Rhythms -- Three Kinds of Movement -- ch. 6 Physical Rhythm -- Rechoreographing -- Physical Storytelling -- Dancing Edits -- Singing the Rhythm --
Holdings
Item type Current library Call number Copy number Status Date due Barcode
Standard Loan Moylish Library Main Collection 778.535 PEA (Browse shelf(Opens below)) 1 Available 39002100629154

Enhanced descriptions from Syndetics:

There are many books on the technical aspects of film and video editing. Much rarer are books on how editors think and make creative decisions.

Filled with timeless principles and thought-provoking examples from a variety of international films, the second edition of Karen Pearlman's Cutting Rhythms offers an in-depth study of the film editor's rhythmic creativity and intuition, the processes and tools editors use to shape rhythms, and how rhythm works to engage audiences in film. While respecting the importance of intuitive flow in the cutting room, this book offers processes for understanding what editing intuition is and how to develop it. This fully revised and updated edition contains:

New chapters on collaboration and "editing thinking"; Advice on making onscreen drafts before finalizing your story Tips on how to create and sustain audience empathy and engagement; Explanations of how rhythm is perceived, learned, practiced and applied in editing; Updated discussions of intuition, structure and dynamics; An all-new companion website (www.focalpress.com/cw/pearlman) with video examples and links for expanding and illustrating the principles of key chapters in the book.

Includes bibliographical references and index.

Machine generated contents note: ch. 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 and Thinking Rhythmically -- Summary -- ch. 2 Editing as Choreography -- Shifting the Discussion from Music to Movement -- Pulse -- Movement Phrases -- Why Bother with Phrasing? -- Phrasing Considerations -- Summary -- ch. 3 Timing, Pacing, and Trajectory Phrasing -- Timing -- Pacing -- Trajectory Phrasing -- Summary -- ch. 4 Tension, Release, and Synchronization -- Tension and Release -- Synchronization -- Case Study in Tension, Release, and Synchronization: Broadcast News -- Summary -- ch. 5 Physical, Emotional, and Event Rhythms -- Three Kinds of Movement -- ch. 6 Physical Rhythm -- Rechoreographing -- Physical Storytelling -- Dancing Edits -- Singing the Rhythm --

Table of contents provided by Syndetics

  • 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

Author notes provided by Syndetics

Dr. Karen Pearlman is a director of the multi-award winning Physical TV Company where she directs, produces and edits drama, documentary and dance film. Currently a lecturer in Screen Production at Macquarie University, Karen is a former President of the Australian Screen Editors Guild and a four-time nominee for Best Editing at the Australian Screen Editors Guild Annual Award.

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