Crittenden, Roger 2012, Fine Cuts : The Art of European Film Editing, e-book, accessed 17 March 2016. pp.4-19
2 thoughts on “Crittenden, Roger 2012, Fine Cuts : The Art of European Film Editing, e-book, accessed 17 March 2016. pp.4-19”
This book is a good source to study representative film editors in Europe in 20th century. The author edits his conversation with the editors and make it like an autobiography for people to read their lives behind the films. I select the part which Agnès Guillemot, who is the only editor to work both with Godard and Truffaut,talks about her editing stories. This is a very first hand source that lots of conversations between the director and editor are revealed. However, Guillemot here doesn’t talk much about her views on editing techniques and styles. Instead of that, she focuses on talking about her personal life and cooperations with the two famous directors. After reading so many theories and cases, this book brings me a different feeling . it offers me the chance to read a story of editor his or her self, to see the actual spirit behind the scenes. For me, this is also a important part of studying film editing.
The chapter “Moontage, Mon Beau Souci” is an extract from an article written by Jean-Luc Godard in which he describes the relationship between montage and mise-en-scene. By doing this, he compares the role of the director with the role of the editor. He suggests that the editor and director should always work independently of each other, and that the integrity of the editing process could be compromised if the director oversees it too closely. His justification for this is that the editor does not see the way the scene is laid on set, and therefore has no preconceived idea of where the cut should occur. It is interesting hearing the views of such a highly regarded film director, and his writing is eloquent and engaging. This chapter undoubtedly contains useful information for any prospective editor.
This book is a good source to study representative film editors in Europe in 20th century. The author edits his conversation with the editors and make it like an autobiography for people to read their lives behind the films. I select the part which Agnès Guillemot, who is the only editor to work both with Godard and Truffaut,talks about her editing stories. This is a very first hand source that lots of conversations between the director and editor are revealed. However, Guillemot here doesn’t talk much about her views on editing techniques and styles. Instead of that, she focuses on talking about her personal life and cooperations with the two famous directors. After reading so many theories and cases, this book brings me a different feeling . it offers me the chance to read a story of editor his or her self, to see the actual spirit behind the scenes. For me, this is also a important part of studying film editing.
The chapter “Moontage, Mon Beau Souci” is an extract from an article written by Jean-Luc Godard in which he describes the relationship between montage and mise-en-scene. By doing this, he compares the role of the director with the role of the editor. He suggests that the editor and director should always work independently of each other, and that the integrity of the editing process could be compromised if the director oversees it too closely. His justification for this is that the editor does not see the way the scene is laid on set, and therefore has no preconceived idea of where the cut should occur. It is interesting hearing the views of such a highly regarded film director, and his writing is eloquent and engaging. This chapter undoubtedly contains useful information for any prospective editor.