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E-grāmata: British Film Editors: The Heart of the Movie

  • Formāts: 255 pages
  • Izdošanas datums: 25-Jul-2019
  • Izdevniecība: BFI Publishing
  • ISBN-13: 9781838714819
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  • Cena: 101,44 €*
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  • Formāts: 255 pages
  • Izdošanas datums: 25-Jul-2019
  • Izdevniecība: BFI Publishing
  • ISBN-13: 9781838714819

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First book on British feature-film editing. First book on British feature-film editing. Most of the Directors Ive worked with needed someone to talk to who is deep inside the heart of the movie.--Mick Audsley, Film EditorFilm editing is understood by the industry to be one of the most crucial contributions to film-making. World-class British editors such as Antony Gibbs and Anne Coates have received recognition of their importance in Hollywood and experienced British Editors have important roles in a surprising number of major American movies . This book attempts to explain this mot elusive of roles by allowing editors to describe in their own words what they do and to bring them into the critical and public spotlight.It is the most comprehensive survey of its kind to date and is based upon interviews with many distinguished editors who have worked on films as diverse as Blade Runner and Carry on Up the Khyber, Die Hard 2 and Blow Up , American Beauty and Performance. The British Film Editor also provides a detailed history of editing, together with extensive filmographies.
Acknowledgments vii
Introduction 1(3)
1 Editing, Authorship and Collaboration 4(13)
Problems of recognition 1
4(6)
Problems of recognition 2
10(7)
2 The Film Editor's Role 17(44)
Some common misconceptions
17(3)
Intention, accident and discovery
20(2)
From rough cut to fine cut
22(3)
Enhancing script
25(7)
Enhancing performance
32(3)
Making it work
35(6)
The dream repair man and doctoring the film
41(2)
Some editing analogies
43(2)
Editing and film style
45(3)
Establishing rhythm and pace
48(1)
Craft and collaboration
49(2)
The question of vision
51(3)
The editor/director relationship
54(7)
3 Aspects of British Editing from the Beginnings to the 1950's 61(31)
The emergence of British feature film editing
61(2)
The coming of sound
63(7)
Quota quickies
70(3)
Editing in the British studio system
73(2)
London Films
75(3)
Gainsborough in the 1930's and 1940's
78(4)
Ealing Studios in the 1940's and 1950's
82(5)
Editing and directing: crossover and craft skills
87(5)
4 Aspects of British Editing from the 1950's Onwards 92(34)
Hollywood in Britain
93(6)
Exiles and expatriates
99(4)
The British new wave
103(4)
British films of the 1960's
107(4)
Goldcrest
111(5)
British editors in Hollywood
116(10)
5 Stylistic Developments 126(19)
Hollywood craft standards and the influence of Soviet montage
126(4)
Opticals eliminated and reclaimed
130(8)
More direct and faster cutting
138(7)
6 The Future of Editing and Technological Change 145(31)
The changing background
145(6)
Film editing on synchronisers, Moviolas and flatbeds
151(3)
Crossing over to non-linear
154(3)
Some advantages of non-linear - and some drawbacks
157(3)
The impact of non-linear technology on editing style
160(6)
The new editing environment
166(3)
Non-linear editing and the wider context
169(2)
The future of editing
171(5)
Appendix: Selected Filmographies 176(54)
Art, craft, class and education
176(2)
Women in British editing
178(2)
Filmographies
180(50)
Bibliography 230(8)
Select Glossary 238(3)
Index 241