![]() Never make a cut without a positive reason.This 1984 film editing book is still used by film schools (albeit skipping the technical parts specific to physical film cutting).ĭmytryk has seven basic rules of cutting: ![]() This book gives fantastic insights from one of the early innovators in film.īefore Edward Dmytryk directed films like T he Caine Mutiny (1954), Give us this Day (1949), or Crossfire (1947), he was a film editor. Intellectual: editing the shots to create an intellectual meaningĪnd it’s in the combination of these techniques that the film form is most potent.Overtonal: the juxtaposition of images creating a much more abstract meaning.Tonal: Editing based on the emotional tone of each shot (especially when combined with music.Rhythmic: Editing based on information & context (literally the basis of nearly all editing).He developed “methods of montage”-these were meant to be considered in tandem and ideally combined. It has his thoughts and theories about the value of montage style cutting and how it handles the rhythm, sound, and the juxtaposition of images.Įisenstein felt that the construction of scenes was more than just showing a moment by linking related images. Eisenstein was one of the early filmmaking pioneers-his writing about filmmaking helped explain what he was trying to do. This book itself is a mix of information from a man who was a theorist and filmmaker. The Film Sense and Film Form by Sergei Eisenstein
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