The technique of film and video editing history, theory, and practice
First published in 2011. Routledge is an imprint of Taylor & Francis, an informa company.
| Otros Autores: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
New York ; London :
Focal Press
2013.
|
| Edición: | 5th ed |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009714838306719 |
Tabla de Contenidos:
- Cover; Half Title; Title Page; Copyright Page; Dedication; Table of Contents; Acknowledgments; Introduction; About The Website; 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 AssociationLuis Buñuel: Visual Discontinuity; Conclusion; 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; 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 OlympiaW. S. Van Dyke and The City; Ideas About War and Society; Frank Capra and Why We Fight; Humphrey Jennings and Diary for Timothy; Conclusion; Chapter 4 The Influence of the Popular Arts; Vaudeville; The Musical; The Theatre; Radio; Chapter 5 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 6 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 ShotLevels 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; Chapter 7 New Technologies; The Wide Screen; Character and Environment; Relationships; Relationships and the Environment; The Background; The Wide Screen After 1960; Cinéma Vérité; Chapter 8 International Advances; The Dynamics of Relativity; The Jump Cut and Discontinuity; Objective Anarchy: Jean-Luc Godard
- Melding Past and Present: Alain ResnaisInterior Life as External Landscape; Chapter 9 The Influence of Television and Theatre; Television; Theatre; Chapter 10 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; Chapter 11 The MTV Influence on Editing I; Origins; The Short Film
- Where We Are Now-The State of the MTV Style
