Filled with timeless principles and thought-provoking examples from a variety of international films, the third edition of Karen Pearlman's 'Cutting Rhythms' offers an in-depth study of the film editor's rhythmic creativity and expertise, the processes and tools editors use to shape rhythms, and how rhythm works to engage audiences in film.
Filled with timeless principles and thought-provoking examples from a variety of international films, the third edition of Karen Pearlman's 'Cutting Rhythms' offers an in-depth study of the film editor's rhythmic creativity and expertise, the processes and tools editors use to shape rhythms, and how rhythm works to engage audiences in film.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Karen Pearlman, ASE, is a director of the multi-award winning Physical TV Company where she directs, produces, and edits drama, documentary, and dance film. Currently an Associate Professor in Screen Practice and Production at Macquarie University, Sydney, Australia, Karen is a former President of the Australian Screen Editors Guild, and a five-time nominee, and two-time winner for Best Editing at the Australian Screen Editors Guild Annual Awards.
Inhaltsangabe
Introduction 1. From Intuition to Expertise 2. Watching Sorting Remembering Selecting and Composing 3. Editor as Choreographer - Time Energy and Movement 4. Timing Pacing and Trajectory Phrasing 5. Tension Release and Synchronization 6. Good Editing is Not Invisible 7. Physical Rhythm 8. Emotional Rhythm 9. Event Rhythm 10. Style 11. Collaboration and the Vulcan Mind Meld 12. Editing Thinking and Onscreen Drafting
Introduction 1. From Intuition to Expertise 2. Watching Sorting Remembering Selecting and Composing 3. Editor as Choreographer - Time Energy and Movement 4. Timing Pacing and Trajectory Phrasing 5. Tension Release and Synchronization 6. Good Editing is Not Invisible 7. Physical Rhythm 8. Emotional Rhythm 9. Event Rhythm 10. Style 11. Collaboration and the Vulcan Mind Meld 12. Editing Thinking and Onscreen Drafting
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