Cutting Rhythms : Shaping the Film Edit. (e-book, 2012) [WorldCat.org]
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Cutting Rhythms : Shaping the Film Edit.

Autor: Karen Pearlman
Editora: Kidlington : Taylor and Francis, 2012. ©2009
Edição/Formato   e-book : Documento : InglêsVer todas as edições e formatos
Resumo:
How does a film editor make decisions about where and when to cut in order to make a film 'feel right'? Generally speaking, the answer is, 'it's intuitive', which is accurate but leaves one wanting to know more. Cutting Rhythms breaks down the definition of intuition to find that, even if rhythmic thinking is intuitive thinking, we can still say more than we 'just know.' This book offers possibilities rather than  Ler mais...
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Detalhes

Gênero/Forma: Electronic books
Formato Físico Adicional: Print version:
Pearlman, Karen.
Cutting Rhythms : Shaping the Film Edit.
Kidlington : Taylor and Francis, ©2012
Tipo de Material: Documento, Recurso Internet
Tipo de Documento Recursos de internet, Arquivo de computador
Todos os Autores / Contribuintes: Karen Pearlman
ISBN: 9780080927763 0080927769
Número OCLC: 1044731570
Descrição: 1 online resource (300 pages)
Conteúdos: Cover --
Title --
Copyright --
Table of Contents --
Preface --
Acknowledgments --
Introduction --
Chapter 1 Rhythmic Intuition --
Intuitive Thinking --
Perceiving Rhythm --
Actively Perceiving Rhythms --
Perceiving Rhythm in the Rushes or Dailies --
Mirroring Rhythm --
Being Rhythm --
Thinking Rhythmically --
Endnotes --
Chapter 2 Editing as Choreography --
Shifting the Discussion from Music to Movement --
Pulse --
Movement Phrases --
Phrasing Considerations --
Endnotes --
Chapter 3 Timing, Pacing, and Trajectory Phrasing --
Timing --
Pacing --
Trajectory Phrasing --
Endnotes --
Chapter 4 Tension, Release, and Synchronization --
Tension and Release --
Synchronization --
Case Study in Tension, Release, and Synchronization: Broadcast News --
Broadcast News --
Endnotes --
Chapter 5 Physical, Emotional, and Event Rhythms --
Three Kinds of Movement --
Endnotes --
Chapter 6 Physical Rhythm --
Rechoreographing --
Physical Storytelling --
Dancing Edits --
Singing the Rhythm --
Case Study: "Now" Scene from Thursday's Fictions --
Endnotes --
Chapter 7 Emotional Rhythm --
Prepare, Action, Rest --
The Actor's Actions --
Beats --
Case Study: The Hours --
Endnotes --
Chapter 8 Event Rhythm --
Shaping the Rhythm of Events --
Creating Structure and Rhythm Simultaneously --
Reintegrating Rhythms --
Case Study: The Godfather --
Case Study: Goodfellas --
Endnotes --
Chapter 9 Style --
Montage --
Decoupage --
Points along the Spectrum from Montage to Decoupage --
Collision --
Linkage --
Points along the Spectrum from Collision to Linkage --
Style Case Studies --
Contemporary Style: After the New Wave --
Conclusion --
Endnotes --
Chapter 10 Devices --
Parallel Action --
Parallel Action Case Studies --
Slow Motion --
Slow Motion Case Studies --
Fast Motion --
Two Quick Fast Motion Case Studies --
Mixed Motions and Speed Ramping --
Endnotes --
Chapter 11 Common Scenes. Two-handers --
Two-hander Case Studies --
Summary-Two-handers --
Chases --
Chase Case Studies --
Summary-Chases --
Endnotes --
Chapter 12 Conclusion --
Endnotes --
Bibliography --
Index.

Resumo:

How does a film editor make decisions about where and when to cut in order to make a film 'feel right'? Generally speaking, the answer is, 'it's intuitive', which is accurate but leaves one wanting to know more. Cutting Rhythms breaks down the definition of intuition to find that, even if rhythmic thinking is intuitive thinking, we can still say more than we 'just know.' This book offers possibilities rather than prescriptions. It presents questions an editor or filmmaker can ask themselves about their work, and a clear and useful vocabulary for working with those questions. Cutting Rhythms makes ideas about rhythm in film editing clear and accessible, so that you can do more than just imitate editing you've seen on TV. With this book you'll develop your own sense of rhythm, refine our rhythmic shaping skills, and increase your creativity--and in so doing, become a better filmmaker.

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