Cutting Rhythms: Shaping the Film Edit by Karen Pearlman

By Karen Pearlman

There are various books at the technical facets of movie and video enhancing: e.g., tips to use software program programs like ultimate minimize seasoned and Avid. a lot rarer are books on how an editor thinks and makes judgements. confronted with enormous quantities of hours of uncooked photos, a movie editor needs to craft the items right into a coherent entire. Rhythm is a basic device of the movie editor; while a filmmaker alter the size of pictures on the subject of each other, she or he impacts the full velocity, constitution, and temper of the movie. till this ebook, rhythm was once thought of a question of instinct; solid editors may still simply 'know' whilst to make a cut.

Cutting Rhythms breaks down the problem of rhythm in an available method that permits filmmakers to use the foundations to their very own paintings and raise their creativity. This booklet deals probabilities instead of prescriptions. It provides questions  editors or filmmakers can ask themselves approximately their paintings, and a transparent and valuable vocabulary for operating with these questions.

Filled with undying ideas and thought-provoking examples from a number of overseas movies, this booklet is destined to develop into a staple within the filmmaker's library.

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By Karen Pearlman

There are various books at the technical facets of movie and video enhancing: e.g., tips to use software program programs like ultimate minimize seasoned and Avid. a lot rarer are books on how an editor thinks and makes judgements. confronted with enormous quantities of hours of uncooked photos, a movie editor needs to craft the items right into a coherent entire. Rhythm is a basic device of the movie editor; while a filmmaker alter the size of pictures on the subject of each other, she or he impacts the full velocity, constitution, and temper of the movie. till this ebook, rhythm was once thought of a question of instinct; solid editors may still simply 'know' whilst to make a cut.

Cutting Rhythms breaks down the problem of rhythm in an available method that permits filmmakers to use the foundations to their very own paintings and raise their creativity. This booklet deals probabilities instead of prescriptions. It provides questions  editors or filmmakers can ask themselves approximately their paintings, and a transparent and valuable vocabulary for operating with these questions.

Filled with undying ideas and thought-provoking examples from a number of overseas movies, this booklet is destined to develop into a staple within the filmmaker's library.

Show description

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The more that is explicitly known, the more readily accessible intuitive responses will be. “Geniuses . . ”4 Intuitive Thinking This discussion of intuition therefore proceeds from the premise that articulation of ideas about what kinds of learned knowledge inform an editor’s intuition need not disturb the balance of thinking and doing that allows editors to use intuition in the creation of the rhythms in films. Not everyone will agree with this premise, and furthermore, some editors who disagree are, in fact, extremely credible given their experience, knowledge, and swags of awards.

167. 10. , “Dany Cooper interview,” Inside Film Magazine, p. 43. 11. , Sculpting in Time, pp. 119–120. 12. Ibid. 13. , First Cut, Conversations with Film Editors. 14. , “The anatomy of intuition,” in The Intuitive Practitioner, p. 40. 15. Modell, A. , Imagination and the Meaningful Brain, p. 145. 16. , The New Brain, pp. 35–37. 17. The meaning of “intentional” has significant potential for variation when moving between scientific studies and philosophical studies. As Robert Sokolowski says in Introduction to Phenomenology, “The core doctrine of phenomenology is the teaching that every act of consciousness we perform, every experience that we have is intentional: it is essentially ‘consciousness of’ or an ‘experience of’ something or other .

The other three characters each respond: Lester’s wife (Annette Bening), with a chirpy, high-pitched insistence that glosses over everything; Janie (Thora Birch), with a strangled breath and sound that barely escapes through gritted teeth; and Angela, with an easy poise, a breath rhythm that promises much but gives little away. [Photo credit: DreamWorks/Jinks/Cohen; The Kobal Collection] 19 20 CHAPTER 1: Rhythmic Intuition I propose that Murch’s ideas about blinking and Gibson’s about breathing can be extended to take the actor’s whole body and the whole of the mise-en-scene into account as a source of kinetic communication.

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