May 23, 2016

Berressem, Hanjo. “Actual Image | Virtual Cut: Schizoanalysis and Montage.” Deleuze Studies 5.2 (2011): 177-208. Web.

May 23, 2016

Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London. (especially “Methods of Montage”, pp.72-83)

May 23, 2016

Sheehan, Thomas W. “Wittgenstein and Vertov: Aspectuality and Anarchy.” Discourse 24.3 (2002): 95-113. Print.

May 23, 2016

Lawton, Anna. “Rhythmic Montage in the Films of Dziga Vertov: A Poetic Use of the Language of Cinema”. Pacific Coast Philology 13 (1978): 44–50. Web…

May 23, 2016

Enns, Clint. “NAVIGATING ALGORITHMIC EDITING: ALGORITHMIC EDITING AS AN ALTERNATIVE APPROACH TO DATABASE CINEMA.” Millennium Film Journal (2012): 66-72. Web.

May 23, 2016

Hildebrandt, Toni. “The Profanation Of Montage: Pasolini’S Allegorical Death/Cut In The Sequence-Shot”. Senses of Cinema. N.p., 2015. Web. 25 Mar. 2016.

May 23, 2016

Bazin, Andre. “Bazin On Superimposition”. Film-philosophy.com. N.p., 2016. Web. 25 Mar. 2016.

May 23, 2016

Ansen, David, and Sawhill, Ray. “The New Jump Cut: Digital Editing Is Revolutionizing the Way Films Are Made and Look. It’s Also Creating Havoc.” Newsweek 128.10 (1996): 64. Web.

May 23, 2016May 23, 2016

Chew, Richard, Anne V. Coates, Alan Heim, Joe Hutshing, Walter Murch, Pietro Scalia, Arthur Schmidt, Thelma Schoonmaker, Tim Squyres, Christopher Tellefesen, and Dylan Tichenor. “The Art and Craft of Film Editing: A Critical Symposium Featuring Commentary by Richard Chew, Anne V. Coates, Alan Heim, Joe Hutshing, Walter Murch, Pietro Scalia, Arthur Schmidt, Thelma Schoonmaker, Tim Squyres, Christopher Tellefesen and Dylan Tichenor.” Cinéaste 34.2 (2009): 54-64. Print.

May 23, 2016

Magliano, Joseph P., and Jeffrey M. Zacks. “The impact of continuity editing in narrative film on event segmentation.” Cognitive Science 35.8 (2011): 1489-1517.

May 23, 2016

Eisenstein, Sergei, & Leyda, Jay. (1951). Film form : Essays in film theory (International theatre and cinema). London: Dobson.

May 23, 2016

Dmytryk, E. 1984 On Film Editing, Focal Press, MA USA

May 23, 2016

Orpen, Valerie. Film editing: The art of the expressive. Vol. 16. Wallflower Press, 2003.

May 23, 2016

Peters, Oliver. “EXHILARATION AND INVISIBLE EDITS.” Digital Video 22.12 (2014): 44-47. Print.

May 23, 2016

‘Birdman’: Filmed As One Long Shot. 2014. Web. 25 Mar. 2016.

May 23, 2016

LoBrutto, Vincent. “”Invisible” or “Visible” Editing: The Development of Editorial Styles and Strategies.” Cineaste 34.2 (2009): 43-47,11. Web.

May 23, 2016May 23, 2016

“Editorial: The Art and Craft of Film Editing.” Cineaste – America’s Leading Magazine on the Art and Politics of the Cinema 34.2 (2009): 1. Web.

May 23, 2016May 23, 2016

Off Centre: MAD MAX’s Headroom. (2016). [Blog] Observations on Film Art. Available at: http://www.davidbordwell.net/blog/category/technique-editing/ [Accessed 19 Mar. 2016].

May 23, 2016May 23, 2016

Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London, pp. 72-83.

May 23, 2016May 23, 2016

Dmytryk, E 1984, On Film Editing, Focal Press, MA USA, pp. 27-33.

May 23, 2016May 23, 2016

Bordwell, D 1984, ‘Jump Cuts and Blind Spots’, Wide Angle, vol. 6, pp 4- 11.

May 23, 2016May 23, 2016

Bordwell, D, Thompson, K 2013, Film Art: An Introduction, 10th Edn, The McGraw- Hill Companies, Inc., New York, NY, pp. 160-218.

May 23, 2016May 23, 2016

Betancourt, M 2016, Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion and Space, 1st Edn, Routledge, New York NY, pp. 57- 62.

May 23, 2016May 23, 2016

Bazin on the Long Take Versus Montage, 2012, Online Video, Script Castle, Accessed 23/03/2016, .

May 23, 2016May 23, 2016

Aumont, J, Bergala, A, Marie, M, Vernet, M, Trans. Neupert, R 1992, Aesthetics of Film, University of Texas Press, TX, pp. 37- 42.

May 23, 2016

Nicky M, 2005, “cut and shot n cut n the shot’

Cut versus Shot

Month: May 2016

Berressem, Hanjo. “Actual Image | Virtual Cut: Schizoanalysis and Montage.” Deleuze Studies 5.2 (2011): 177-208. Web.

Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London. (especially “Methods of Montage”, pp.72-83)

Sheehan, Thomas W. “Wittgenstein and Vertov: Aspectuality and Anarchy.” Discourse 24.3 (2002): 95-113. Print.

Lawton, Anna. “Rhythmic Montage in the Films of Dziga Vertov: A Poetic Use of the Language of Cinema”. Pacific Coast Philology 13 (1978): 44–50. Web…

Enns, Clint. “NAVIGATING ALGORITHMIC EDITING: ALGORITHMIC EDITING AS AN ALTERNATIVE APPROACH TO DATABASE CINEMA.” Millennium Film Journal (2012): 66-72. Web.

Hildebrandt, Toni. “The Profanation Of Montage: Pasolini’S Allegorical Death/Cut In The Sequence-Shot”. Senses of Cinema. N.p., 2015. Web. 25 Mar. 2016.

Bazin, Andre. “Bazin On Superimposition”. Film-philosophy.com. N.p., 2016. Web. 25 Mar. 2016.

Ansen, David, and Sawhill, Ray. “The New Jump Cut: Digital Editing Is Revolutionizing the Way Films Are Made and Look. It’s Also Creating Havoc.” Newsweek 128.10 (1996): 64. Web.

Magliano, Joseph P., and Jeffrey M. Zacks. “The impact of continuity editing in narrative film on event segmentation.” Cognitive Science 35.8 (2011): 1489-1517.

Eisenstein, Sergei, & Leyda, Jay. (1951). Film form : Essays in film theory (International theatre and cinema). London: Dobson.

Dmytryk, E. 1984 On Film Editing, Focal Press, MA USA

Orpen, Valerie. Film editing: The art of the expressive. Vol. 16. Wallflower Press, 2003.

Peters, Oliver. “EXHILARATION AND INVISIBLE EDITS.” Digital Video 22.12 (2014): 44-47. Print.

‘Birdman’: Filmed As One Long Shot. 2014. Web. 25 Mar. 2016.

LoBrutto, Vincent. “”Invisible” or “Visible” Editing: The Development of Editorial Styles and Strategies.” Cineaste 34.2 (2009): 43-47,11. Web.

“Editorial: The Art and Craft of Film Editing.” Cineaste – America’s Leading Magazine on the Art and Politics of the Cinema 34.2 (2009): 1. Web.

Off Centre: MAD MAX’s Headroom. (2016). [Blog] Observations on Film Art. Available at: http://www.davidbordwell.net/blog/category/technique-editing/ [Accessed 19 Mar. 2016].

Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London, pp. 72-83.

Dmytryk, E 1984, On Film Editing, Focal Press, MA USA, pp. 27-33.

Bordwell, D 1984, ‘Jump Cuts and Blind Spots’, Wide Angle, vol. 6, pp 4- 11.

Bordwell, D, Thompson, K 2013, Film Art: An Introduction, 10th Edn, The McGraw- Hill Companies, Inc., New York, NY, pp. 160-218.

Betancourt, M 2016, Beyond Spatial Montage: Windowing, or the Cinematic Displacement of Time, Motion and Space, 1st Edn, Routledge, New York NY, pp. 57- 62.

Bazin on the Long Take Versus Montage, 2012, Online Video, Script Castle, Accessed 23/03/2016, .

Aumont, J, Bergala, A, Marie, M, Vernet, M, Trans. Neupert, R 1992, Aesthetics of Film, University of Texas Press, TX, pp. 37- 42.

Nicky M, 2005, “cut and shot n cut n the shot’