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Lädt ... Cutting Rhythms: Shaping the Film Editvon Karen Pearlman
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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. Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)778.5The arts Photography, computer art, cinematography, videography Special Applications Film makingKlassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt:
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To be clear, this is primarily a book for film students or editors early in their careers. Focusing on rhythm to shape a story, she first discards the off-putting adjectives that editing is “intuitive” and “magical.” Instead, she opens the process to show a tangible set of tools and skills that can be learned, practiced and internalized -- until they do operate in the subconscious background of seeming intuition. It’s textbook-ish -- academic in tone (yet extremely readable) and content (including exercises and case studies), with end notes, a bibliography, and an index. My only quibble is that some of the case-study photographs are printed so dark they’re indecipherable.
Then consider this passage:
Editors compose rhythms in the sense that someone might compose a flower arrangement: not by making the flowers, or in this case the shots, but by choosing the selections, order, and duration of shots.
That sounds exactly like second-draft prose writing, and suggests a second audience: creatives who would benefit from getting behind the scenes of a less-familiar medium to explore very familiar aspects of storytelling: pace; perspective; distance; tension and release; arcs of action and emotion; scenes of dialogue; multiple storylines; speeding/slowing/collapsing time.
And I suggest even a third audience: highly motivated film buffs -- those who devour the bonus-material commentaries on DVDs -- who will find the material in this book revelatory. Knowing more about film editing and the collaboration inherent in film has already made me a more knowledgeable and appreciative film-goer.
(Review based on a copy of the book provided by the publisher.) ( )