May 27, 2016

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

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

May 27, 2016

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

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

May 27, 2016May 27, 2016

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

May 27, 2016

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

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

May 27, 2016

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

May 27, 2016

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

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

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

May 27, 2016

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

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

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

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

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

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

May 27, 2016

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

May 27, 2016

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

Cut versus Shot

Author: haienwang

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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