Cutting Rhythms : Shaping the Film Edit. (eBook, 2015) [University of Maryland, College Park]
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Cutting Rhythms : Shaping the Film Edit.

Author: Karen Pearlman
Publisher: Focal Press [Imprint], Abingdon : Taylor & Francis Group. Dec. 2015 ;
Edition/Format:   eBook : Document : English : 2nd ed., revisedView all editions and formats
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Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Karen Pearlman
ISBN: 9781317516422 1317516427
OCLC Number: 1148139205
Description: 1 online resource (368 pages) : illustrations
Contents: PREFACE TO THE SECOND EDITIONPREFACE TO THE FIRST EDITION ACKNOWLEDGMENTS INTRODUCTION CHAPTER 1 Rhythmic Intuition Intuitive Thinking Movement and Intuition Rhythm is Made of Movement Noticing Movement as Rhythm Feeling Movement's Rhythmic Potential Empathy with Movement: Experience, Body and Brain Being Rhythm & Thinking Rhythmically CHAPTER 2 Editing as Choreography Shifting the Discussion from Music toPulse Movement Phrases Why Bother with Phrasing?Phrasing Considerations CHAPTER 3 Timing, Pacing, and Trajectory Phrasing Timing Pacing Trajectory Phrasing CHAPTER 4 Tension, Release, and Synchronization Tension and Release Synchronization Case Study in Tension, Release, and Synchronization:Broadcast News CHAPTER 5 Physical, Emotional, and Event Rhythms Three Kinds of Movement Good Editing is Not Invisible CHAPTER 6 Physical Rhythm Re-choreographing Physical Storytelling Dancing Edits Singing the Rhythm Case Study: "Now" Scene from Thursday's Fictions CHAPTER 7 Emotional Rhythm Prepare, Action, Rest The Actor's Actions Beats Case Study: The Hours CHAPTER 8 Event Rhythm First ScenesDramatic QuestionsStructures as Event PatternsEnergy, Pace and Timing Creating Structure and Rhythm Simultaneously Real Events v. Fictional EventsReintegrating Rhythms Case Study: The Godfather Case Study: Goodfellas CHAPTER 9 Style Thematic Montage Continuity Cutting Points along the Spectrum from Thematic Montage to Continuity Cutting Collision Linkage Points along the Spectrum from Collision to Linkage Style Case Studies Contemporary Style: After the New Wave CHAPTER 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 Making



There are many books on the technical aspects of film and video editing. Much rarer are books on how editors think and make decisions. Filled with timeless principles and thought-provoking examples from a variety of international films, Cutting Rythms, Second Edition offers an in-depth study of the film editors' rhythmic creativity and intuition, the processes and tools editors work through to shape rhythms, and the functions of rhythm in film. Rhythm is a fundamental tool of the film editor which can affect the enitre composition of the shot from the mood to pacing. While many believe that creating rhythm is simply about intutition, this book explains that there is much more involved in creating the perfect balance of sound and energy that culminate in the finished scene. This fully revised and updated edition contains:New chapters on developing intuition and how it can be applied in the fieldAdvice on making onscreen drafts before finalizing your productUpdated discussions on sound, phrasing, embodied simulation, and more, as well as updated examples of films throughoutTips on how to keep emotion and motion in the shot while finding the balance for bothAn all-new companion website ( with video examples, editing exercises, and raw footage for you to edit withCutting Rhythms breaks down the issue of rhythm in an accessible way that allows filmmakers to apply the principles to their own work and increase their creativity. This book provides possibilities rather than prescriptions. It presents questions editors or filmmakers can ask themselves about their work, and a clear and useful vocabulary for working with those questions.

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"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 Read more...

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