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210123 ||| eng |
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|a 0080518613
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|a 9780080518619
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|a 0240521986
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|a 9786612665875
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|a 0240521854
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4 |
|a TR899
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| 100 |
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|a Reisz, Karel
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| 245 |
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|a The technique of film editing
|c written and compiled by Karel Reisz and Gavin Millar ; with the guidance of the following committee appointed by the British Film Academy, Thorold Dickinson [and others] ; introduced by Thorold Dickinson
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| 250 |
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|a 2nd ed., reissued
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| 260 |
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|a Burlington, MA
|b Focal Press
|c 2010
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| 300 |
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|a xxi, 346 pages
|b illustrations
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| 505 |
0 |
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|a François TruffautJean-Luc Godard; Alain Resnais; Michelangelo Antonioni; CONCLUSION; APPENDIX; BIBLIOGRAPHY; CUTTING ROOM PROCEDURE; Synchronisation of Rushes; Editing the Film; Opticals; Sound Editing; GLOSSARY OF TERMS; A; B; C; D; E; F; I; J; K; L; M; N; O; P; R; S; T; W; Z; INDEX; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z
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|a Includes bibliographical references (pages 327-331) and index
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| 505 |
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|a Chapter 3 Action SequencesChapter 4 Dialogue Sequences; Chapter 5 Comedy Sequences; Chapter 6 Montage Sequences; Chapter 7 Documentary Reportage; Chapter 8 Imaginative Documentary; Chapter 9 The Documentary Film of Ideas; Chapter 10 The Documentary and the Use of Sound; Chapter 11 Educational Films; Chapter 12 Newsreels; Chapter 13 The Compilation Film; SECTION 3 PRINCIPLES OF EDITING; Chapter 14 Editing the Picture; General; Constructing a Lucid Continuity: Smoothness; Matching Consecutive Actions; Extent of Change in Image Size and Angle; Preserving a Sense of Direction
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| 505 |
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|a Preserving a Clear ContinuityMatching Tone; Making Sound Flow Over a Cut; Timing; Pace: Rhythm; Selection of Shots; Chapter 15 Sound Editing; General; Analysis of a Sound-Track; Sound and the Editing of the Picture; PART II; SECTION 4 THE FIFTIES AND SIXTIES; Introduction; Chapter 16 Widescreen; General; River of No Return; André Bazin; Widescreen Examples; Chapter 17 Cinéma-Vérité and the Documentary Film of Ideas; Cinéma-Vérité; Chronique d'un Eté; Le Joli Mai; Hôtel des Invalides; Chapter 18 Nouvelle Vague; Caméra-Stylo; New Wave; Chapter 19 Personal Cinema in the Sixties
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| 505 |
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|a Front Cover; The Technique of Film Editing; Copyright Page; Contents; Publisher's Note; Introduction; Acknowledgements; Foreword; PART I; SECTION 1 THE HISTORY OF EDITING; Chapter 1 Editing and the Silent Film; The Beginnings of Film Continuity; Griffith: Dramatic Emphasis; Pudovkin: Constructive Editing; Eisenstein: Intellectual Montage; Chapter 2 Editing and the Sound Film; General; Who Edits a Film?; The Order of Shots; Selection of Camera Set-ups: Emphasis; Timing; Presentation: Smoothness; The Contribution of Editing; Special Styles of Editing; SECTION 2 THE PRACTISE OF EDITING
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| 653 |
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|a Motion pictures / Editing / fast
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| 653 |
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|a DRAMA. / bisacsh
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| 653 |
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|a Motion pictures / Editing
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| 653 |
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|a Montage (Cinéma)
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| 700 |
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|a Millar, Gavin
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| 041 |
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|a eng
|2 ISO 639-2
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| 989 |
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|b OREILLY
|a O'Reilly
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| 776 |
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|z 0080518613
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| 776 |
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|z 9780080518619
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| 776 |
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|z 9780240521855
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| 776 |
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|z 9780803870260
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| 776 |
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|z 9780803870253
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| 856 |
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|u https://learning.oreilly.com/library/view/~/9780240521855/?ar
|x Verlag
|3 Volltext
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| 082 |
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|a 808.823
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| 082 |
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|a 791.43
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| 520 |
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|a First published in 1953, the original English version of the book was reprinted 13 times without a word being changed and in translation it has become the standard work on the subject in the Spanish Czech, Polish and Russian languages. In 1968 the original text was reprinted as it stood, as it was felt that any attempt to revise or reinterpret it could only blur its spirit. the second edition has now also reprinted 13 times. On publication the film director Anthony Asquith said `this book is an absolute must not only for film technicians but for every intelligent filmgoer' and more recently i h
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