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Cut versus Shot

Month: May 2016

May 27, 2016

Tarkovsky, A 1987, ‘Time rhythm and editing’, Sculpting in Time: reflections on the cinema, University of Texas Press, pp. 113-124

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May 27, 2016

Piper, J 2001, ‘Chapter four: cuts’, Get the picture? The movie lover’s guide to watching films, Allworth Press, New York, pp. 67-82

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May 27, 2016

Murch, W 1995, ‘Why do cuts work?’, In The Blink of An Eye, Silman-James Press, Los Angeles, pp. 5-9

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May 27, 2016

Metz, C 1974, ‘The cinema: language or language system?’, Film Language: a semiotics of the cinema, Oxford University Press, pp. 29- 36

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May 27, 2016May 27, 2016

Martin, M 1977, ‘Chapter 8: montage’, Le Langage cinematographique, University of California, pp. 108-113

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May 27, 2016

Mamet, D 1992, ‘Storytelling’, On Directing Film, Penguin, New York, pp.1-8

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May 27, 2016June 2, 2016

Tim. J, S. 2005, An Attentional Theory of Continuity Editing.

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May 27, 2016

Kracauer, S 1997, ‘Inherent affinities: the indeterminate’, Theory of Film: The Redemption of Physical Reality, Princeton University Press, Princeton, pp. 68-70

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May 27, 2016

Giannetti, L 2008, ‘Editing: D. W. Griffith and classical cutting ’, Understanding movies, Pearson Education, Upper Saddle River, pp. 153-170

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May 27, 2016

Bruce, K 1987, ‘From shot to sequence: the shot’, How Movies Work, University of California, Berkeley, pp. 201-242

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May 27, 2016

Bruce, K 1987, ‘Montage and mise-en-scene in the narrative film’, How Movies Work, University of California, Berkeley, pp. 97-119

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May 27, 2016

Bordwell, D & Thompson, K 2013, ‘Chapter 6 The relation of shot and shot: editing’, Film Art: An Introduction, 10th ed, McGraw Hill, New York, pp. 218-265

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May 27, 2016

Bobker, L 1979, ‘Art of film editing: time’, Elements of Film, Harcourt Brace Jovanovich, pp. 116-120

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May 27, 2016

Block, B 2001, ‘Chapter 7: movement’, The Visual Story: Seeing the Structure of Film, TV, and New Media, Focal Press, Boston, pp. 125-152

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May 27, 2016

Bazin,A & Gary H 1967, ‘The virtues and limitation of montage’, What Is Cinema, vol. 1, University of California Press, Berkeley, pp. 41-52

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May 27, 2016

Aumont, J, Bergala, A, Marie, M & Vernet, M 1983, ‘The functions of montage’, Aesthetics of Film, University of Texas Press, Austin, pp. 45-52

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May 27, 2016

Arijon, D 1976, ‘The importance of parallel film editing’, Grammar of The Film Language, Focal Press, London and New York, pp. 6-11

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May 27, 2016

Andrew, J 1976, ‘The uses and misuses of montage: cinematic purposes’, The Major Film Theories: An Introduction, Oxford University Press, London, Oxford and New York, pp. 164-170

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May 27, 2016

Allen, R & Gomery, D 1985, ‘Reading film history’, Film History: Theory and Practice, McGraw-Hill Companies, pp. 43-64

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May 27, 2016

Agel, H 1957, ‘The great theorist: Eisenstein’, Esthetique du cinema, Presses Universitaires de France, pp. 70-79

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May 25, 2016

Danesi, M (2008), The Dictionary of Media and Communications, ME Sharpe, Armonk, New York

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May 25, 2016

Coleman, L & Friedberg, D 2014, Make the Cut: A Guide to Becoming a Successful Assistant Editor in Film and TV

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May 25, 2016

Bordwell , D. , On the History of Film Style , Harvard University Press , Cambridge, MA/ London , 1997 .

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May 25, 2016June 2, 2016

Team, S. 2016, Film Leesons the Arts of Continuity Editing, Student Filmer.

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May 25, 2016June 2, 2016

Roy, A. 2011, Continuity and Discontinuity Editing.

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May 25, 2016June 2, 2016

Prealman, K. 2009, Cutting Rhythms, Focal Press, MA USA, pp. 153-180

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May 25, 2016June 2, 2016

Oliver, P. 2008, 12 Tips for Better Film Editing. Digtal Films. Htpps://digitalfilms. Wrodpress.com/2008/12/16-tips-for-better-edting/

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May 24, 2016June 2, 2016

Schrader, P. 2014, “EDITING PART III”, Film Comment, vol. 50, no. 6, pp. 48-53.

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May 24, 2016June 2, 2016

Niney, F. 2000, “Montage with Images That Don’t Exist: Interview with Artavazd Pelechian”, Discourse: Journal for Theoretical Studies in Media and Culture, vol. 22, no. 1, pp. 94-98.

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May 24, 2016June 2, 2016

Magliano JP, Zacks JM. 2011, The Impact of Continuity Editing in Narrative Film on Event Segmentation.

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May 24, 2016June 2, 2016

Carreiro, A.L. 2010, Script-to-screen: Film editing and collaborative authorship during the Hollywood Renaissance, The University of Texas at Austin. Pp. 6-13

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May 24, 2016June 2, 2016

Brandt, M.W. 1994, Traditional film editing versus electronic nonlinear film editing: A comparison of feature films, Baylor University.

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May 24, 2016June 2, 2016

Berliner, T. & Cohen, D.J. 2011, “The Illusion of Continuity: Active Perception and the Classical Editing System”, Journal of Film and Video, vol. 63, no. 1, pp. 44-63.

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May 24, 2016June 2, 2016

Baron, C. 2007, “Acting Choices/Filmic Choices: Rethinking Montage and Performance”, Journal of Film and Video, vol. 59, no. 2, pp. 32-40.

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May 23, 2016

Addison, H, Roth, E 2011, ‘The Wonders of Editing: An Interview with Mathilde Bonnefoy and Tom Tykwer’, Journal of Film and Video, vol. 63, no. 2, pp. 45-55.

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May 23, 2016

Bordwell, D 2002, ‘Intensified Continuity’, Film Quarterly, vol. 55, no. 3, pp. 16-28.

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May 23, 2016

Davenport, G, Mackay, W 1989, ‘Virtual Video Editing in Interactive Multimedia Applications’, Communications of the ACM, vol. 32, no. 7, pp. 802-810.

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May 23, 2016

Barba, E 2013, ‘Toward a Language of Mixed Reality in the Continuity Style’, Convergence: The International Journal of Research into New Media Technologies, vol. 20, ed. 1, pp. 41- 54.

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May 23, 2016

Chollet, M, Christie, M, Lino, C, Ronfard, R 2011, ‘Computational Model of Film Editing for Interactive Storytelling’, in E Andre, JC Lester, M Si, J Tanenbaum, D Thue, V Zammitto, (eds), Interactive Storytelling: Fourth International Conference on Interactive Digital Storytelling, Vancouver Canada, 28 November – 1 December, 2011, Springer Berlin Heidelberg, viewed 21 March 2016, Springer Link, pp. 305-308.

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May 23, 2016

Isenhour, JP 1975, ‘The Effects of Context and Order in Film Editing’, AV Communications Review, vol. 23, no. 1, pp. 69-80.

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May 23, 2016

Cohn-Sheehy, BI, Pogue, BL, Shimamura, AP, Shimamura, TA 2015, ‘How Attention Is Driven by Film Edits: A Multimodal Experience’, Psychology of Aesthetics, Creativity, and the Arts, vol. 9, no. 4, pp. 417-422.

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May 23, 2016

Chen, W 2013, ‘A Study in Multimedia Design Applied to Film Editing to Construct a Multiple Plots Movie’, GSTF Journal on Computing, vol. 3, no. 2, viewed 20 March 2016, Global Science Journals

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May 23, 2016

Carrol, N 1979, ‘Toward a Theory of Editing’, Millennium Film Journal, vol. 0, no. 3, pp. 79- 99.

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May 23, 2016

McGrath, D 2015, ‘Film Editing, Plumbing, and Revolution’, Cineaste, vol. 40, no. 4, pp. 8- 12.

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May 23, 2016

Dancyger, K 2014, ‘The Picture Edit and Continuity’, The Technique of Film and Video Editing: History, Theory, and Practice, 5th edn, Focal Press, Burlington, MA, pp. 371-380.

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May 23, 2016

Bottomore, S 1998, ‘Shots in the Dark’, Sight and Sound, vol. 57, no. 3, pp. 200-205.

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May 23, 2016

Smith, TJ 2012, ‘ Extending AToCC: A Reply’, Projections, vol. 6, no. 1, pp. 71-78.

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May 23, 2016

Forkner, SR 2015, ‘Two Shot Theory in Film Studies’, International Journal of Arts & Sciences, vol. 8, no. 2, pp. 155-162.

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May 23, 2016

Harbord, J 2015, ‘The Potency of Film Editing: Rose Hobart Stop Return’, Contemporary Theatre Review, vol. 25, no. 1, pp. 68-72.

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May 23, 2016

Freeland, C 2012, ‘Continuity, Narrative and Cross-Modal Cuing of Attention’, Projections, vol. 6, no. 1, pp. 34-42.

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May 23, 2016

Berliner, T, Cohen DJ 2011, ‘The Illusion of Continuity: Active Perception and the Classical Editing System’, Journal of Film & Video, vol. 63, no. 1, pp. 44-63.

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May 23, 2016June 2, 2016

Schaefer, R.J. 1997, “Editing strategies in television news documentaries”, Journal of Communication, vol. 47, no. 4, pp. 69-88.

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May 23, 2016

Smith, GM 2012, ‘Continuity is not Continuous’, Projection, vol. 6, no. 1, pp. 56-61.

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May 23, 2016

Dancyger, K 2009, ‘Editing for Subtext: Altering the Meaning of the Narrative’, Cinéaste, vol. 34, no. 2, pp.38­‐42.

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May 23, 2016

Gaudreault, A. 2002 Digital Editing and Montage: The Vanishing Celluloid and Beyond, Cinemas, vol. 13, pp. 69-107

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May 23, 2016

Lindop, J. 2007 Eisenstein: ‘intellectual Montage’, Poststructuralism and Ideology, OFF SCREEN, viewed 16 March 2016,

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May 23, 2016

McVey, M. 2010 Mise-en-scène, Montage, and the Unique Language of Film, MICHAEL MCVEY, SKIFFLEBOOM, viewed 16 March 2016,

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May 23, 2016

Master the Art, Technology & Business of Video Production, The Art Of Film And Video Editing Part-3, VideoUniveristy.com, viewed 16 March 2016,

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May 23, 2016

Aumont, J. Barnard, T. Kessler, F. & Keathley, C. Montage, Découpage, Mise en Scène: Essays on Film Form, caboose, viewed 17 March 2016,

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May 23, 2016

Maher, M. 2015 The Making of the Modern Movie Montage, TheBeat, viewed 17 March 2016,

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May 23, 2016

Barrance, T. 2009 MONTAGE-THE HIDDEN LANGUAGE OF FILM, Critical Workshop, pp. 1-4.

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May 23, 2016

Montage, Viewed 18 March 2016,

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May 23, 2016

UNDERSTANDING MEDIA, 2008, Introduction to Montage, viewed 18 March 2016,

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May 23, 2016

UNDERSTANDING MEDIA, 2008, Introduction to Montage, viewed 18 March 2016,

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May 23, 2016

Katz, S.D., 1991. Film directing shot by shot: visualizing from concept to screen. Gulf Professional Publishing.

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May 23, 2016

Bowen, C.J. and Thompson, R., 2013. Grammar of the Shot. Taylor & Francis.

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May 23, 2016

Russell, R. How Camera Angles Affect a Viewer’s Emotions Available at: http://www.ehow.com/list_5775403_effects-camera-angles-viewer_s-emotions.html

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May 23, 2016

How Film Shots Frame the Action in Film Making Available at: http://www.dummies.com/how-to/content/how-film-shots-frame-the-action-in-film-making.html

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May 23, 2016

Bordwell, D., Thompson, K. and Ashton, J., 1997. Film art: An introduction (Vol. 7). New York: McGraw-Hill. (pp.218-240)

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May 23, 2016May 23, 2016

Stoneking, B.M. 2013, EISENSTEIN’S FIVE TYPES OF MONTAGE, I HAVE NOTHING TO SAY &I’M SAYING IT, viewed 19 March 2016,

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May 23, 2016

Wolf, M.J., 2006. Space, time, frame, cinema: Exploring the possibilities of spatiotemporal effects. New Review of Film and Television Studies, 4(3), pp.167-181.

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May 23, 2016

OPEN CULTURE, 2014, A Visual Introduction to Soviet Montage Theory: A Revolution in Filmmaking, The best free cultural & educational media on the web, viewed 19 March 2016,

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May 23, 2016

Nothelfer, C.E., DeLong, J.E. and Cutting, J.E., 2009. Shot structure in Hollywood film. Indiana University Undergraduate Journal of Cognitive Science, 4, pp.103-113.

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May 23, 2016

Evans, R. 2016, A Guide to Montage Editing, MASTERINGFILM.COM, viewed 19 March 2016,

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May 23, 2016

Smith, T.J., 2006. An attentional theory of continuity editing.

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May 23, 2016

Bordwell, D., Thompson, K. and Ashton, J., 1997. Film art: An introduction(Vol. 7). New York: McGraw-Hill. (pp.112-159)

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May 23, 2016May 23, 2016

Elements of CINEMA.com 2016, Montage, a student’s guide to the fundamental of filmmaking, viewed 19 March 2016,

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May 23, 2016

Eisenstein, S. 1949. Film Form: Essays in Film Theory. Harvest, London. (pp. 15-25)

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May 23, 2016

Deleuze, G., 1986. Cinema 1: The movement-image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986) (pp.87-90)

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May 23, 2016

Deleuze, G., 1986. Cinema 1: The movement-image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986) (pp.24-29)

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May 23, 2016

Deleuze, G., 1986. Cinema 1: The movement-image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986) (pp.18-23)

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May 23, 2016

Deleuze, G., 1986. Cinema 1: The movement-image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986) (pp.12-18)

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May 23, 2016

Rampton, K. (2010). Cinematography: Camera Shots, Camera Angles, Camera Movements.

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May 23, 2016

Eugeni, R. 2012. First person shot. New Forms of Subjectivity between Cinema and Intermedia Networks. Anàlisi, (Monogràfi), 19-31.

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May 23, 2016May 23, 2016

Redfern, N. 2010. Statistical analysis of shot types in the films of Alfred Hitchcock.

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May 23, 2016

Eisenstein, S. 1949. Film Form: Essays in Film Theory. Harvest, London. (pp. 45-62)

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May 23, 2016

Pearlman, K. 2012. Cutting rhythms: shaping the film edit. CRC Press (pp.153-180)

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May 23, 2016

Hamlyn, N. (2016). [online] Available at: http://search.proquest.com.ezproxy.lib.rmit.edu.au/docview/1305505378?rfr_id=info%3Axri%2Fsid%3Aprimo [Accessed 27 Mar. 2016].

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May 23, 2016

Hayward, Susan. “Soviet cinema/school.” In Hayward, Susan. Cinema studies : the Key Concepts, (p. 335-342). 2nd ed. London : Routledge, 2000.

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May 23, 2016

Shaw, Dan. “Sergei Eisenstein” Senses of Cinema 30(Feb 2004) http://sensesofcinema.com/2004/great-directors/eisenstein/ (accessed Feb 26, 2013)

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May 23, 2016

Bordwell, David. “Defending and defining the seventh art : the standard version of stylistic history.” In Bordwell, David. On the history of film style, (p. 12-45, 274-281). Cambridge, Mass. : Harvard University Press, 1997.

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May 23, 2016

Pearlman, K. 2009 Cutting Rhythms, Focal Press, MA USA (Especially “Chater 9: Style”, pp. 153-180)

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May 23, 2016

Murch, W. 1995 In the Blink of an Eye, Silman-James Press, CA USA, pp.50-22 & pp.57-63

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May 23, 2016

Reid, Mark. “Cinema, Poetry, Pedagogy: Montage as Metaphor.” English Teaching: Practice and Critique 4.1 (2005): 60-69. Web.

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May 23, 2016

Cowan, Michael. “The Heart Machine: “Rhythm” and Body in Weimar Film and Fritz Lang’s Metropolis1.” Modernism/Modernity 14.2 (2007): 225-32,234-248. Web.

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May 23, 2016

Prince, S., and We Hensley. “THE KULESHOV-EFFECT + FILM EDITING AND RUSSIAN FILM HISTORY – RECREATING THE CLASSIC EXPERIMENT.” Cinema Journal 31.2 (1992): 59-75. Web.

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May 23, 2016

Bordwell, David. “The Idea of Montage in Soviet Art and Cinema.” Cinema Journal 11.2 (1972): 9. Web.

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May 23, 2016

Pudovkin, V. (trans Montagu, I.) 1954 Film Technique and Film Acting. Vision, London, pp.38-50

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May 23, 2016

Suhr, Christian, and Rane Willerslev. “Can Film Show the Invisible?: The Work of Montage in Ethnographic Filmmaking”. Current Anthropology 53.3 (2012): 282–301. Web…

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May 23, 2016

Young, Colin. “Observational cinema.” Principles of visual anthropology (1975): 65-80.

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  • ryantaylor on Winkler, Fabian & McMullen, Shannon. Continuity and Montage, Image of Nature Summer Program, 2011. (access from http://www.gardensandmachines.com/Summerprogram/wp-content/uploads/2011/07/editing_techniques.pdf)
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