The technique of film editing / written and compiled by Karel Reisz and Gavin Millar with the guidance of the following committee appointed by the British Film Academy ... ; introduced by Thorold Dickinson.

By:

Reisz, Karel

Contributor(s):

Millar, Gavin

Material type: Text

TextLanguage: Spanish Publication details: Amsterdam ; Boston : Elsevier/Focal, c2010.Edition: 2nd edDescription: 346 p. : ill. ; 24 cmISBN:

9780240521855
0240521854

Subject(s):

DDC classification:

778.535 22

LOC classification:

TR 899 R378t 2010

Summary: I. The history of editing : 1. Editing and the silent film : The beginnings of film continuity ; Griffith: dramatic emphasis ; Pudovkin: Constructive editing ; Eisenstein: intellectual montage -- 2. Editing and the sound film : General ; Who edits a film? ; The order of shots ; Selection of camera set-ups: emphasis ; Timing ; Presentation: smoothness ; The contribution of editing ; Special styles of editing -- II. The practice of editing : 3. Action sequences -- 4. Dialogue sequences -- 5. Comedy sequences -- 6. Documentary reportage -- 7. Imaginative documentary -- 8. The documentary film of ideas -- 9. The documentary and the use of sound -- 10. Educational films -- 11. Newsreels -- 12. The compilation film -- III. Principles of editing : 13. Editing the picture : General ; Constructing a lucid continuity: smoothness ; Matching consecutive actions Extent of change in image size and angle ; Preserving a sense of direction ; Preserving a clear continuity ; Matching tone ; Making sound flow over a cut ; Timing ; Pace: rhythm ; Selection of shots -- 14. Sound editing : General ; Analysis of a sound track ; Sound and the editing of the picture -- IV. The fifties and sixties : 15. Introduction -- 16. Widescreen : General ; River of no return ; Andre Bazin ; Widescreen examples -- 17. Cinema verite and the documentary film of ideas : Cinema verite ; Chronolique d'un ete ; Le joli mai ; Hotel des invalides -- 18. Nouvelle vague : Camera style ; New wave -- 19. Personal cinema in the sixties : Francois Truffaut ; Jean-Luc Godard ; Alain Resnais ; Michelangelo Antonioni -- 20. Conclusion.

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Item type	Current library	Home library	Collection	Shelving location	Call number	Copy number	Status	Barcode
Libro	Biblioteca Juan Bosch	Biblioteca Juan Bosch	Humanidades	Humanidades (4to. Piso)	TR 899 R378t 2010 (Browse shelf(Opens below))	1	Available	00000074539

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"Enhanced reissue of a classic text"--Cover.

Includes bibliographical references (p. 327-328) and index.

I. The history of editing : 1. Editing and the silent film : The beginnings of film continuity ; Griffith: dramatic emphasis ; Pudovkin: Constructive editing ; Eisenstein: intellectual montage --
2. Editing and the sound film : General ; Who edits a film? ; The order of shots ; Selection of camera set-ups: emphasis ; Timing ; Presentation: smoothness ; The contribution of editing ; Special styles of editing --
II. The practice of editing : 3. Action sequences --
4. Dialogue sequences --
5. Comedy sequences --
6. Documentary reportage --
7. Imaginative documentary --
8. The documentary film of ideas --
9. The documentary and the use of sound --
10. Educational films --
11. Newsreels --
12. The compilation film --
III. Principles of editing : 13. Editing the picture : General ; Constructing a lucid continuity: smoothness ; Matching consecutive actions Extent of change in image size and angle ; Preserving a sense of direction ; Preserving a clear continuity ; Matching tone ; Making sound flow over a cut ; Timing ; Pace: rhythm ; Selection of shots --
14. Sound editing : General ; Analysis of a sound track ; Sound and the editing of the picture --
IV. The fifties and sixties : 15. Introduction --
16. Widescreen : General ; River of no return ; Andre Bazin ; Widescreen examples --
17. Cinema verite and the documentary film of ideas : Cinema verite ; Chronolique d'un ete ; Le joli mai ; Hotel des invalides --
18. Nouvelle vague : Camera style ; New wave --
19. Personal cinema in the sixties : Francois Truffaut ; Jean-Luc Godard ; Alain Resnais ; Michelangelo Antonioni --
20. Conclusion.

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