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This seventh 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.
Industry veteran 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 seventh edition includes new chapters on the developments of different genres and how these changes have affected editing decisions. This includes the recent predominance of biopic films, such as
Oppenheimer (2023) and
Maestro (2023), which will both be compared with earlier precedents, such as
The Life of Emile Zola and
Elizabeth. Then the book will also consider the changes and movements with melodrama, comedy, and soft satire.
This is an essential resource for students and professionals seeking both a contextual background as well as a practical guide for the best editing tips and tricks.
Sommario
Acknowledgements
Introduction to the Seventh Edition
Section 1: History of Film EditingChapter 1 The Silent Period
Chapter 2 The Early Sound Film
Chapter 3 The Influence of the Documentary
Chapter 4 The Influence of the Popular Arts
Chapter 5 The Influence of Other Arts
Chapter 6 Editors Who Became Directors
Chapter 7 Experiments in Editing: Alfred Hitchcock
Chapter 8 Experiments in Editing II: Robert Altman
Chapter 9 New Technologies
Chapter 10 International Advances
Chapter 11 The Influence of Television and Theatre
Chapter 12 New Challenges to Filmic Narrative Conventions
Chapter 13 The MTV Influence on Editing I
Chapter 14 The MTV Influence on Editing II
Chapter 15 Changes in Pace
Chapter 16 The Appropriation of Style I: Limitation and Innovation
Chapter 17 The Appropriation of Style II: Limitation and Innovation
Chapter 18 The Appropriation of Style III: Digital Reality
Section 2: Goals of EditingChapter 19 Editing for Narrative Clarity
Chapter 20 Editing for Dramatic Emphasis
Chapter 21 Editing for Subtext
Chapter 22 Editing for Surprise
Chapter 23: Editing for Aesthetics
Section 3: Editing for the GenreChapter 24 Action
Chapter 25 Dialog
Chapter 26 Comedy
Chapter 27 Documentary
Chapter 28 Imaginative Documentary
Chapter 29 Innovation in Documentary I
Chapter 30 Innovation in Documentary II
Chapter 31 Innovation in Documentary III: The Experimental Documentary
Section 4: Changes in GenreChapter 32 The Deep Dive
Chapter 33 The Biopic
Chapter 34 The Melodrama and Celine Sciamma
Chapter 35 The Melodrama: Identity, Diaspora vs Tradition
Chapter 36 The Reimagining of the Screwball Comedy
Chapter 37 The Soft Satire
Chapter 38 The Minimalist Approach
Section 5: Principles of EditingChapter 39 The Picture Edit and Continuity
Chapter 40 The Picture Edit and Pace
Chapter 41 Ideas and Sound
Chapter 42 The Sound Edit and Clarity
Chapter 43 The Sound Edit and Creative Sound
Chapter 44 Innovations of Sound
Chapter 45 Nonlinear Editing and Digital Technology I
Chapter 46 Nonlinear Editing and Digital Technology II
Chapter 47 Conclusion
Filmography
Glossary
Selected Bibliography
Index
Info autore
Ken Dancyger is Professor Emeritus of Film and Television at Tisch School of the Arts at New York University, as well as the author of numerous books on screenwriting, editing, and production, including
Alternative Scriptwriting (with Jeff Rush) and
Writing the Short Film (with Patricia Cooper),
The Director's Idea, and
Global Scriptwriting, all published by Routledge/Focal Press. Ken also conducts scriptwriting and editing workshops internationally.
