Cutting Rhythms, 2nd Edition

Cutting Rhythms, 2nd EditionIntuitive Film EditingBy Karen Pearlman 264 Pages 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 ContentsPREFACE TO THE SECOND EDITIONPREFACE TO THE FIRST EDITIONACKNOWLEDGMENTSINTRODUCTIONCHAPTER 1 Rhythmic IntuitionIntuitive ThinkingMovement and IntuitionRhythm is Made of MovementNoticing Movement as RhythmFeeling Movement’s Rhythmic PotentialEmpathy with Movement: Experience, Body and BrainBeing Rhythm & Thinking RhythmicallyCHAPTER 2 Editing as ChoreographyShifting the Discussion from Music toPulseMovement PhrasesWhy Bother with Phrasing?Phrasing ConsiderationsCHAPTER 3 Timing, Pacing, and Trajectory PhrasingTimingPacingTrajectory PhrasingCHAPTER 4 Tension, Release, and SynchronizationTension and ReleaseSynchronizationCase Study in Tension, Release, and Synchronization:Broadcast NewsCHAPTER 5 Physical, Emotional, and Event RhythmsThree Kinds of MovementGood Editing is Not InvisibleCHAPTER 6 Physical RhythmRe-choreographingPhysical StorytellingDancing EditsSinging the RhythmCase Study: "Now" Scene from Thursday’s FictionsCHAPTER 7 Emotional RhythmPrepare, Action, RestThe Actor’s ActionsBeatsCase Study: The HoursCHAPTER 8 Event RhythmFirst ScenesDramatic QuestionsStructures as Event PatternsEnergy, Pace and TimingCreating Structure and Rhythm SimultaneouslyReal Events v. Fictional EventsReintegrating RhythmsCase Study: The GodfatherCase Study: GoodfellasCHAPTER 9 StyleThematic MontageContinuity CuttingPoints along the Spectrum from Thematic Montage to Continuity CuttingCollisionLinkagePoints along the Spectrum from Collision to LinkageStyle Case StudiesContemporary Style: After the New WaveCHAPTER 10 DevicesParallel ActionParallel Action Case StudiesSlow MotionSlow Motion Case StudiesFast MotionTwo Quick Fast Motion Case StudiesCHAPTER 11 Editing & The Vulcan Mind MeldThe Mind MeldDecision MakingResponsive CreativityPower and HierarchyCHAPTER 12 Editing Thinking & Onscreen DraftingEditing ThinkingWhat is an Onscreen DraftWhy DraftRapid PrototypingEmbodied Decision MakingBiographyDr. Karen Pearlman is a director of the multi-award winning Physical TV Company where she directs, produces and edits drama, documentary and dance film. Currently a lecturer in Screen Production at Macquarie University, Karen is a former President of the Australian Screen Editors Guild and a four-time nominee for Best Editing at the Australian Screen Editors Guild Annual Award.Reviews    "Karen’s insights about the flow of story, emotion, image and sound have helped me at all stages of filmmaking, from onscreen drafting to fine cutting." - Genevieve Clay-Smith, multi-award winning Director    "A great resource! Karen’s out-of–the box thinking about editing brings a new level of insight and articulation to describing what editors do and how we do it." - Jason Ballantine, ASE