Pearlman, K. 2009 Cutting Rhythms, Focal Press, MA USA (Especially “Chater 9: Style”, pp. 153-180)
2 thoughts on “Pearlman, K. 2009 Cutting Rhythms, Focal Press, MA USA (Especially “Chater 9: Style”, pp. 153-180)”
In K Pearlman’s book Cutting Rhythms, I focused on chapter 9 “Style”. The author discusses the range of choices that are available when editing and making the cut. The director makes the stylistic choice of the film and then “the editor is the collaborator in charge of bringing these materials together.” Pearlman demonstrates to the readers two different styles that are often used when editing.
He also speaks about montage as a type of editing, referencing films such as Koyaanisqatsi and Baraka for their montage editing. However, it is important to note that he states that nowadays, it is unusual for the entire feature film to be of one montage – normally they will have a montage scene within the film. I found this section interesting because it made me think about the difference between older films and 21st century films.
The variety of examples used in this reading were very useful at explaining some elusive concepts. One concept which was put really nicely was the correlation of shot-reverse shot and parallel action as akin to one another, in the sense that even a shot-reverse shot conversation in one place portrays parallel action.
In relation to my review, Pearlman appears to argue that there is a particular feminine, and therefore an opposing masculine, editing style. She makes no attempt to explain if this is heightened by the gender of the editor, suggesting that is perhaps has more to do with genre.
In K Pearlman’s book Cutting Rhythms, I focused on chapter 9 “Style”. The author discusses the range of choices that are available when editing and making the cut. The director makes the stylistic choice of the film and then “the editor is the collaborator in charge of bringing these materials together.” Pearlman demonstrates to the readers two different styles that are often used when editing.
He also speaks about montage as a type of editing, referencing films such as Koyaanisqatsi and Baraka for their montage editing. However, it is important to note that he states that nowadays, it is unusual for the entire feature film to be of one montage – normally they will have a montage scene within the film. I found this section interesting because it made me think about the difference between older films and 21st century films.
The variety of examples used in this reading were very useful at explaining some elusive concepts. One concept which was put really nicely was the correlation of shot-reverse shot and parallel action as akin to one another, in the sense that even a shot-reverse shot conversation in one place portrays parallel action.
In relation to my review, Pearlman appears to argue that there is a particular feminine, and therefore an opposing masculine, editing style. She makes no attempt to explain if this is heightened by the gender of the editor, suggesting that is perhaps has more to do with genre.