Book Description
The Technique of Film & Video Editing provides a detailed, precise look at the artistic and aesthetic principles and practices of editing for both picture and sound. Analyses of photographs from dozens of classic and contemporary films and videos provide a sound basis for the professional filmmaker and student editor. This book puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice. This new edition has been updated to include the latest advances in digital video and nonlinear editing and explores the new trend of documentary as mainstream entertainment, using films such as "Farenheit 9/11" and "The Fog of War" as examples.
* Learn how to strengthen your story and engage your audience through the editing process
* Examples, analysis, and film stills from great movies
* Includes a new chapter on the impact of documentaries
Customer Reviews:
Not Great.......2007-09-02
I had to buy this for a film editing class. I'm only about 2 chapters in so far, but I'm thoroughly disappointed. Dancyger seems to prefer directing techniques over editing techniques, and definitely theory over practice. The first two chapters are reiterating the basics of film history with many techniques used in the classics by Melies, Porter, and Eisenstein. I've learned so much about film history and SO LITTLE about editing technique I am definitely disappointed and unenthusiastic about reading more.
Book Description
Jonathan Rosenbaum, longtime contributor to such publications as Film Quarterly, Sight and Sound, and The Village Voice, is arguably the most eloquent, insightful film critic writing in America today. Placing Movies, the first collection of his work, gathers together thirty of his most distinctive and illuminating pieces. Written over a span of twenty-one years, these essays cover an extraordinarily broad range of films--from Hollywood blockbusters to foreign art movies to experimental cinema. They include not just reviews but perceptive commentary on directors, actors, and trends; and thoughtful analysis of the practice of film criticism.
It is this last element--Rosenbaum's reflections on the art of film criticism--that sets this collection apart from other volumes of film writing. Both in the essays themselves and in the section introductions, Rosenbaum provides a rare insider's view of his profession: the backstage politics, the formulation of critical judgments, the function of film commentary. Taken together, these pieces serve as a guided tour of the profession of film criticism.
They also serve as representative samples of Rosenbaum's unique brand of film writing. Among the highlights are memoirs of director Jacques Tati and maverick critic Manny Farber, celebrations of classics such as Gentlemen Prefer Blondes and The Manchurian Candidate, and considered reevaluations of Orson Welles and Woody Allen.
Book Description
Dramatically broadening the previous field of research on sound, Sound Theory/Sound Practice promises to renew the debate over the importance of sound to cinema, from a theoretical as well as a historical perspective.
Average customer rating:
- A thoroughly "reader friendly" introduction and survey of proven editing techniques
- It doesn't get worse
- 1st class
- Different Ways of Film Editing...
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The Technique of Film and Video Editing, Third Edition: History,Theory, and Practice
Ken Dancyger
Manufacturer: Focal Press
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In the Blink of an Eye Revised 2nd Edition
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Technique of Film Editing, Second Edition
ASIN: 0240804201 |
Book Description
The Technique of Film & Video Editing is the best training for aspiring directors, providing a detailed, precise look at the artistic and aesthetic principles and practices of editing for both picture and sound. Analysis of photographs from dozens of classic and contemporary films and videos provide a sound basis for the professional filmmaker and student editor. Practical skills are grounded by an exposition of the ideas and styles of editing through which the director can understand the visual tools at his or her disposal. This book puts into context the storytelling choices an editor will have to make against a background of theory, history, and practice.
The current edition brought this book to the cutting edge with such topics as new technology and its influence on the art of editing, MTV style, psychoanalytic ideas, and the appropriation of style over content. The new edition furthers these discussions by highlighting the "stylistic extremes" brought about by the clash of imitative style and innovative filmmaking. It continues the examination of MTV style via a study of the full spectrum of its uses in recent years. Additionally, it examines the editing characteristics of nonlinear storytelling as evidenced in such recent films as The Ice Storm and Thin Red Line. A new chapter addresses new trends in documentary.
* Offers a deeper discussion of MTV style editing
* Includes more on the appropriation of style
* Examines innovations in documentary
Customer Reviews:
A thoroughly "reader friendly" introduction and survey of proven editing techniques .......2006-09-09
Now in an updated and expanded third edition, The Technique Of Film And Video Editing: History, Theory, And Practice by Ken Dancyger (Professor of Film and Television, Tisch School of the Arts, New York University) provides a thoroughly "reader friendly" introduction and survey of proven editing techniques and how those techniques influence the editing process, as well as presenting the history, theory, and aesthetics of editing in film and video. Nicely organized into three major sections (History of Film Editing; Editing for the Genre); and Principles of Editing), The Technique Of Film And Video Editing is enhanced with the inclusion of "Cutting Room Procedures", a filmography, a glossary, a selected bibliography for further study, and a comprehensive index. No film school or academic library film/video production instructional collection can be considered complete without the inclusion of The Technique Of Film And Video Editing as a core reference. Also very highly recommended for film students and aspiring film makers from Focal Press is Blain Brown's Cinematography: Image Making For Cinematographers, Directors, And Videographers (02-40805003, $44.99).
It doesn't get worse.......2002-12-07
I just read a chapter from this book on DMN. Maybe the author has something interesting to say or maybe some new insights - I'll never know. The writing is so poor that each sentence needs to be dissected to be understood.
"In the world of the music video, real place is far less important. In fact, they are not as important as references to other media and other forms, to the landscapes of science fiction, and to the horror film." Huh? I'm guessing that "they" means "real place" and therefore should been "it is not as important..." But I am not sure that is what he meant. I've seen bad writing like this in user forums but never in a book. Did he have an editor?
I do have a book to recommend, though for the author, The Elements of Style. When you master that, try again but this time with an editor.
1st class.......2001-08-18
film, video, non-linear, linear - it's all pictures and sound. This book was everything i was looking for. It's not an explanation of how to edit. It's about how to think, how to dig deep inside your feelings and appy those feelings to the work you do. Forget the technicalities, forget the jargon, this is about asking yourself the question - what do i want the viewer to feel? It inspires you to think beyond what you know. I have been editing for a number of years - i am a better editor after reading this book.
Different Ways of Film Editing..........2000-12-15
This book will give you a general history of editing. Also you will find in "Editing for the genre" section examples of different film editing "styles" for different genres. Honestly the principles of editing section is very weak. Also the non linear editing topic is not covered in depth. The name can be confusing for some people: This book is NOT about the technique and There is almost nothing on "video" in it. It is about creative and aesthetical sides of editing with examples from well known directors like Kubrick, Hitchcock etc.
Customer Reviews:
Metaphor is history.......2007-05-17
Rosenstone is a respected post-modernist student of history and film whose short book basically argues that since the meaning of written history "lies in its larger symbolic expressions" (68), we should likewise accept the "metaphorical" truth of historical films regardless of their factual accuracy. Rosenstone even defends Sergei Eisenstein's infamous "storming of the Winter Palace" scene in the propaganda film October (1928) on the grounds that it allows us to "share in the ecstasy of revolutionary change."(67)
Rosenstone tends to focus on the sorts of films screened at arts festivals. He does much less with Hollywood and ignores upper-middle class history fare, such as the many films presented on the long-running PBS series American Experience (which does not even appear in the index). One wonders whether Rosenstone would be as sanguine about accepting the metaphorical truth of film, if conservative Republicans, instead of an unending string of fellow leftists, had created all the best metaphors.
Well-written but very dated account of history and film.......2006-05-09
Rosenstone is a gifted stylist whose desire to take the historical film seriously is certainly welcome. Unlike Natalie Davis (Return of Martin Guerre and Slaves on Screen), Rosenstone also has no desire to prescribe what filmmakers should and should not do when representing the past. Films, need to be judged according to different criteria from historical accuracy, Rosenstone maintains. But Rosenstone so narrows his definition of the historical film, despite the seemingly all encompassing title of his book, attending only to what he calls the serious historical film, that he ends up confirming the negative view of historical films held by most historians (at least as he imagines his audience). Rosenstone too, that is, dismisses films like Gladiator andBraveheart. In this respect, Rosenstone does not move past Pierre Sorlin's view, published in the 1970s, of a handful of film as exceptions to the rule that a filmic writing of history does not exist. Moreover, nearly all the films he discusses where made before 1990. Rosenstone does not beyond positions he first outlined in 1988 and which Haydn White articulated the same year in a trenchant essay on "Historiophoty." Rosenstone pays no attention to video and DVD, and does not differentiate between film and TV. By the end of his book, Rosenstone has even retreated from White's trenchant arguments. The book is frequently repetitive. The conclusion repeats almost verbatim points made and personal anecdotes told in the introduction. At first, I thought that Rosenstone's editor had failed him. But then I saw that Rosenstone is simply spinning his wheels, repeating himself because he has nowhere to go. For example, he never tells us what the different criteria for evaluating film all. Similarly, he says that film adds "something" to our historical understanding, but never says what that something is. Instead, he repeats the same point about film being metaphorical, not literal (see pp. 8, 31, 160, 162). Similar examples could be multiplied. His readings do not tell us much by way of close reading about the films themselves. It's a shame Rosenstone chose to ignore entirely work on the historical film by film critics and theorists such as Philip Rosen, and some of them, such as Robert Burgoyne, Marxists, whom, I take it, Rosenstone would find simpatico. (Rosenstone mentions Frederic Jameson once in passing and misspells his first name "Frederick.") Similarly, Rosenstone could have benefited from attention to the New Historicism and recent attention to the cinematic anecdote. Clearly, Rosenstone's failure to engage this work and think beyond his two decade positions is not the result of laziness. He has been a productive scholar. One suspects that there are unconscious attachments for which film serves as some sort of neurotic compensation; hence, Rosenstone's need to retread the same ground over and over again rather than move forward into our present film and digital media history age.
Book Description
Literature and Film is a superb collection of vibrant essays that chart the history and confluence of literature and film. Bringing together the very latest scholarship in the field, this guide contains astute and readable contributions - both theoretical and thematic - on the translation of literary into filmic texts.Subjects range from established classics including The Last of the Mohicans, through consecrated genre works like Cape Fear, to contemporary classics such as The English Patient and Beloved. Almost all of the essays are originals, especially composed for this volume, and written by leading international scholars on both literature and film. The book features an ambitious introductory essay tracing the theory and practice of adaptation, providing the ideal entry point for students or scholars exploring this dynamic and multifaceted field.
Book Description
Addresses the important role of remakes in film culture, from early cinema to contemporary Hollywood.
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Film Editing: History, Theory and Practice: Looking at the Invisible
Don Fairservice
Manufacturer: Manchester University Press
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Technique of Film Editing, Second Edition
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ASIN: 0719057779 |
Book Description
This comprehensive examination of the film-editor's craft traces the development of editing from the primitive forms of early cinema through the upheavals caused by the advent of sound. Don Fairservice explores the challenges to convention that began in the 1960s and which continue to the present day. New digital technologies and the dominance of the moving image have produced a radical rewriting of the rules of audio-visual address. This detailed study outlines a fascinating history, and presents the "how's" and "why's" of film editing, and its complexities in our modern age.
Customer Reviews:
Exceptional clarity.......2006-02-07
If for no other reason than that this book on film avoids the academic jargon that blurs other theoritcal books, it is a pleasure to read. It is worth the price just for the relevant details that it presents, clearl land precisely. A very good standard film history.
Not a film history but a book about DOING film history.......2000-01-10
This is a great book, especially helpful if you are trying to learn how do do historical research. The author, himself a well-respected film historian, reviews several established formats (eg. economic history, social history, technological history) then offers a guide for those trying to do this sort of work. Especially useful for the film instructor or graduate student.
Customer Reviews:
Fantastic Theory for Editors.......2005-03-21
I first bought this book over 30 years ago when I was learning to cut film. It helped me make the jump to real editing, then better composition and directing. It even helps writers. This is a must have book for anyone in film. My last copy was stolen while I was in film school. I have been searching out of print shops for another copy since 1977. At last, another copy.
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