Dmytryk, E. 1984 On Film Editing, Focal Press, MA USA
2 thoughts on “Dmytryk, E. 1984 On Film Editing, Focal Press, MA USA”
In chapter two of On Film Editing published in 1984, author Edward Dmytryk speaks about who exactly cuts the film. The chapters title, Who Cuts the Film? begins with asking the question that is then discussed for four pages. Dmytryk narrows down the editorial responsibility to the director, the producer and the film editor, however he makes it clear that “on the great majority of films, then, all the actual ‘hands on’ cutting is done by the film editor, with the director and/or the producer supplying the most, if not all, of the creative ideas…” (pages 9-10) This is an interesting chapter to read because it leaves the readers with a clear idea of how a film is edited and who is involved. The author gives personal examples that are humorous and allow the readers to think about their own experiences re editing.
Putting the important stuff out there and brilliantly applying the KISS principle in order to explain how to construct your editing in an easy to understand fashion.
Importantly, Dmytryk briefly addresses his discrepancy in the use of male pronouns in his book as not reflecting his actual experience.
In chapter two of On Film Editing published in 1984, author Edward Dmytryk speaks about who exactly cuts the film. The chapters title, Who Cuts the Film? begins with asking the question that is then discussed for four pages. Dmytryk narrows down the editorial responsibility to the director, the producer and the film editor, however he makes it clear that “on the great majority of films, then, all the actual ‘hands on’ cutting is done by the film editor, with the director and/or the producer supplying the most, if not all, of the creative ideas…” (pages 9-10) This is an interesting chapter to read because it leaves the readers with a clear idea of how a film is edited and who is involved. The author gives personal examples that are humorous and allow the readers to think about their own experiences re editing.
Putting the important stuff out there and brilliantly applying the KISS principle in order to explain how to construct your editing in an easy to understand fashion.
Importantly, Dmytryk briefly addresses his discrepancy in the use of male pronouns in his book as not reflecting his actual experience.