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Cutting Rhythms, 2nd Edition

Book Description

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.

Table of Contents

  1. Cover
  2. Title
  3. Copyright
  4. Contents
  5. PREFACE TO THE SECOND EDITION
  6. PREFACE TO THE FIRST EDITION
  7. ACKNOWLEDGMENTS
  8. INTRODUCTION
  9. CHAPTER 1 Rhythmic Intuition
    1. Intuitive Thinking
    2. Movement and Intuition
    3. Rhythm is Made of Movement
    4. Noticing Movement as Rhythm
    5. Feeling Movement’s Rhythmic Potential
    6. Empathy with Movement: Experience, Body, and Brain
    7. Being Rhythm and Thinking Rhythmically
    8. Summary
  10. CHAPTER 2 Editing as Choreography
    1. Shifting the Discussion from Music to Movement
    2. Pulse
    3. Movement Phrases
    4. Why Bother with Phrasing?
    5. Phrasing Considerations
    6. Summary
  11. CHAPTER 3 Timing, Pacing, and Trajectory Phrasing
    1. Timing
    2. Pacing
    3. Trajectory Phrasing
    4. Summary
  12. CHAPTER 4 Tension, Release, and Synchronization
    1. Tension and Release
    2. Synchronization
    3. Case Study in Tension, Release, and Synchronization: Broadcast News
    4. Summary
  13. CHAPTER 5 Physical, Emotional, and Event Rhythms
    1. Three Kinds of Movement
  14. CHAPTER 6 Physical Rhythm
    1. Rechoreographing
    2. Physical Storytelling
    3. Dancing Edits
    4. Singing the Rhythm
    5. Case Study: “Now” Scene from Thursday’s Fictions
    6. Summary
  15. CHAPTER 7 Emotional Rhythm
    1. Prepare, Action, Rest
    2. The Actor’s Actions
    3. Beats
    4. Case Study: The Hours
    5. Summary
  16. CHAPTER 8 Event Rhythm
    1. First Scenes
    2. Dramatic Questions
    3. Structures as Event Patterns
    4. Energy, Pace, and Timing
    5. Creating Structure and Rhythm Simultaneously
    6. Real Events v Fictional Events
    7. Reintegrating Rhythms
    8. Case Study: The Godfather
    9. Case Study: Goodfellas
    10. Summary
  17. CHAPTER 9 Style
    1. Thematic Montage
    2. Continuity Cutting
    3. Points along the Spectrum from Thematic Montage to Continuity Cutting
    4. Collision
    5. Linkage
    6. Points along the Spectrum from Collision to Linkage
    7. Style Case Studies
    8. Contemporary Style: After the New Wave
    9. Summary
  18. CHAPTER 10 Devices
    1. Parallel Action
    2. Parallel Action Case Studies
    3. Slow Motion
    4. Slow Motion Case Studies
    5. Fast Motion
    6. Two Quick Fast Motion Case Studies
    7. Mixed Motions and Speed Ramping
    8. Summary
  19. CHAPTER 11 Collaboration and The Vulcan Mind Meld
    1. The Mind Meld
    2. Decision Making
    3. Responsive Creativity
    4. Power and Hierarchy
  20. CHAPTER 12 Editing Thinking and Onscreen Drafting
    1. Editing Thinking
    2. What is an Onscreen Draft?
    3. Why Draft?
    4. Rapid Prototyping
    5. Embodied Decision Making
    6. Case Study: Woman with an Editing Bench
  21. BIBLIOGRAPHY
  22. INDEX