TR899.P42

Includes index

- CHAPTER 1 Rhythmic Intuition Intuitive Thinking Perceiving Rhythm Actively Perceiving Rhythms Perceiving Rhythm in the Rushes or Dailies Mirroring Rhythm Being Rhythm Thinking Rhythmically Endnotes - CHAPTER 2 Editing as Choreography Shifting the Discussion from Music to Movement Pulse Movement Phrases Phrasing Considerations Endnotes -CHAPTER 3 Timing, Pacing, and Trajectory Phrasing. Timing Pacing Trajectory Phrasing Endnotes - CHAPTER 4 Tension, Release, and Synchronization. Tension and Release Synchronization Case Study in Tension, Release, and Synchronization: Broadcast News Endnotes - CHAPTER 5 Physical, Emotional, and Event Rhythms Three Kinds of Movement Endnotes - CHAPTER 6 Physical Rhythm Rechoreographing Physical Storytelling Dancing Edits Singing the Rhythm Case Study: “Now” Scene from Thursday’s Fictions Endnotes - CHAPTER 7 Emotional Rhythm Prepare, Action, Rest The Actor’s Actions Beats Case Study: The Hours Endnotes - CHAPTER 8 Event Rhythm Shaping the Rhythm of Events Creating Structure and Rhythm Simultaneously Reintegrating Rhythms Case Study: The Godfather Case Study: Goodfellas Endnotes - CHAPTER 9 Style Montage Decoupage Points along the Spectrum from Montage to Decoupage Collision Linkage Points along the Spectrum from Collision to Linkage Style Case Studies Contemporary Style: After the New Wave Conclusion Endnotes - CHAPTER 10 Devices Parallel Action Parallel Action Case Studies Slow Motion Slow Motion Case Studies Fast Motion Two Quick Fast Motion Case Studies Mixed Motions and Speed Ramping Endnotes - CHAPTER 11 Common Scenes Two-handers Two-hander Case Studies Summary—Two-handers Chases Chase Case Studies Summary—Chases Endnotes - CHAPTER 12 Conclusion Endnotes

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