By Karel Reisz
More suitable model of the seminal textual content on enhancing features a new foreword, a brand new afterword, a remodeled hide and format, in addition to a lower cost! the one so much entire and fascinating quantity on movie modifying. Reisz and Millar introduce readers to each point of the editor's craft, offering a concise heritage of enhancing and describing modifying sort because it applies to each style of moviemaking, together with many sorts of narrative and documentary movies. the actual calls for of wide-screen filmmaking, cinema verite, and the avant-garde also are coated. Reisz and Millar's account of the diversities among tender and abrupt modifying and their awesome experience of modifying for dramatic impression instead of for realism make this ebook crucial for apprentice editors, in addition to those that need to know how filmmakers comprehend their paintings. * New foreword and a brand new afterword * New format good points wider trim for simpler clarity and extra excellent determine placement, whereas sidebars and information call-outs supply quick-access to key thoughts and ideas * greater model and at a lower cost
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Extra info for Technique of Film Editing, Reissue of 2nd Edition
The steam whistle. Inter-cut with the single words of the title General Kornilov Is Advancing, we see shots of the steam whistle. Title: All Hands to the Defence of Petrograd. S. of a factory. Men (Bolsheviks) holding riﬂes and banners, rush past the camera. The steam whistle. Title: For God and Country. Title: For Title: God The cupola of a church. S. a highly ornate ikon. A tall church spire, the image being tilted through 45 deg. to the left. A tall church spire (the same as above), the image being tilted through 45 deg.
Kerensky sitting at the desk, thinking. S. Kerensky. He leans over the desk and signs. Shooting down from the top of a palace staircase towards Kerensky, as, slowly, he approaches the foot of the stairs. S. A servant watching. Kerensky, head bowed, hand in his jacket Napoleon-fashion, slowly ascends the stairs. A servant and one of the Lieutenants are watching. S. Kerensky, looking down, arms folded. Statuette of Napoleon in the same attitude. The servant and Lieutenant salute. A row of tall, palace wine glasses.
The Russian director Sergei Eisenstein, in his essay, Dickens, Grifﬁth, and the Film To-day,8 describes the manner in which Grifﬁth translated the literary devices and conventions of the novelist (particularly of Dickens) into their ﬁlm equivalents. Eisenstein points out that devices such as cross-cutting, close shots, ﬂashbacks, even dissolves, have literary parallels and that all Grifﬁth did was to ﬁnd them. Having analysed the origin of Grifﬁth’s methods, Eisenstein goes on to explain their inﬂuence on the young Russian directors.
Technique of Film Editing, Reissue of 2nd Edition by Karel Reisz