May 23, 2016

Addison, H, Roth, E 2011, ‘The Wonders of Editing: An Interview with Mathilde Bonnefoy and Tom Tykwer’, Journal of Film and Video, vol. 63, no. 2, pp. 45-55.

Davenport, G, Mackay, W 1989, ‘Virtual Video Editing in Interactive Multimedia Applications’, Communications of the ACM, vol. 32, no. 7, pp. 802-810.

May 23, 2016

Barba, E 2013, ‘Toward a Language of Mixed Reality in the Continuity Style’, Convergence: The International Journal of Research into New Media Technologies, vol. 20, ed. 1, pp. 41- 54.

May 23, 2016

Chollet, M, Christie, M, Lino, C, Ronfard, R 2011, ‘Computational Model of Film Editing for Interactive Storytelling’, in E Andre, JC Lester, M Si, J Tanenbaum, D Thue, V Zammitto, (eds), Interactive Storytelling: Fourth International Conference on Interactive Digital Storytelling, Vancouver Canada, 28 November – 1 December, 2011, Springer Berlin Heidelberg, viewed 21 March 2016, Springer Link, pp. 305-308.

May 23, 2016

Isenhour, JP 1975, ‘The Effects of Context and Order in Film Editing’, AV Communications Review, vol. 23, no. 1, pp. 69-80.

May 23, 2016

Cohn-Sheehy, BI, Pogue, BL, Shimamura, AP, Shimamura, TA 2015, ‘How Attention Is Driven by Film Edits: A Multimodal Experience’, Psychology of Aesthetics, Creativity, and the Arts, vol. 9, no. 4, pp. 417-422.

May 23, 2016

Chen, W 2013, ‘A Study in Multimedia Design Applied to Film Editing to Construct a Multiple Plots Movie’, GSTF Journal on Computing, vol. 3, no. 2, viewed 20 March 2016, Global Science Journals

May 23, 2016

Carrol, N 1979, ‘Toward a Theory of Editing’, Millennium Film Journal, vol. 0, no. 3, pp. 79- 99.

May 23, 2016

McGrath, D 2015, ‘Film Editing, Plumbing, and Revolution’, Cineaste, vol. 40, no. 4, pp. 8- 12.

May 23, 2016

Dancyger, K 2014, ‘The Picture Edit and Continuity’, The Technique of Film and Video Editing: History, Theory, and Practice, 5th edn, Focal Press, Burlington, MA, pp. 371-380.

May 23, 2016

Bottomore, S 1998, ‘Shots in the Dark’, Sight and Sound, vol. 57, no. 3, pp. 200-205.

May 23, 2016

Smith, TJ 2012, ‘ Extending AToCC: A Reply’, Projections, vol. 6, no. 1, pp. 71-78.

May 23, 2016

Forkner, SR 2015, ‘Two Shot Theory in Film Studies’, International Journal of Arts & Sciences, vol. 8, no. 2, pp. 155-162.

May 23, 2016

Harbord, J 2015, ‘The Potency of Film Editing: Rose Hobart Stop Return’, Contemporary Theatre Review, vol. 25, no. 1, pp. 68-72.

May 23, 2016

Freeland, C 2012, ‘Continuity, Narrative and Cross-Modal Cuing of Attention’, Projections, vol. 6, no. 1, pp. 34-42.

May 23, 2016

Berliner, T, Cohen DJ 2011, ‘The Illusion of Continuity: Active Perception and the Classical Editing System’, Journal of Film & Video, vol. 63, no. 1, pp. 44-63.

May 23, 2016

Smith, GM 2012, ‘Continuity is not Continuous’, Projection, vol. 6, no. 1, pp. 56-61.

May 23, 2016

Dancyger, K 2009, ‘Editing for Subtext: Altering the Meaning of the Narrative’, Cinéaste, vol. 34, no. 2, pp.38‐42.

Cut versus Shot

Author: Mitchell Pirera

Addison, H, Roth, E 2011, ‘The Wonders of Editing: An Interview with Mathilde Bonnefoy and Tom Tykwer’, Journal of Film and Video, vol. 63, no. 2, pp. 45-55.

Bordwell, D 2002, ‘Intensified Continuity’, Film Quarterly, vol. 55, no. 3, pp. 16-28.

Davenport, G, Mackay, W 1989, ‘Virtual Video Editing in Interactive Multimedia Applications’, Communications of the ACM, vol. 32, no. 7, pp. 802-810.

Barba, E 2013, ‘Toward a Language of Mixed Reality in the Continuity Style’, Convergence: The International Journal of Research into New Media Technologies, vol. 20, ed. 1, pp. 41- 54.

Isenhour, JP 1975, ‘The Effects of Context and Order in Film Editing’, AV Communications Review, vol. 23, no. 1, pp. 69-80.

Cohn-Sheehy, BI, Pogue, BL, Shimamura, AP, Shimamura, TA 2015, ‘How Attention Is Driven by Film Edits: A Multimodal Experience’, Psychology of Aesthetics, Creativity, and the Arts, vol. 9, no. 4, pp. 417-422.

Chen, W 2013, ‘A Study in Multimedia Design Applied to Film Editing to Construct a Multiple Plots Movie’, GSTF Journal on Computing, vol. 3, no. 2, viewed 20 March 2016, Global Science Journals

Carrol, N 1979, ‘Toward a Theory of Editing’, Millennium Film Journal, vol. 0, no. 3, pp. 79- 99.

McGrath, D 2015, ‘Film Editing, Plumbing, and Revolution’, Cineaste, vol. 40, no. 4, pp. 8- 12.

Dancyger, K 2014, ‘The Picture Edit and Continuity’, The Technique of Film and Video Editing: History, Theory, and Practice, 5th edn, Focal Press, Burlington, MA, pp. 371-380.

Bottomore, S 1998, ‘Shots in the Dark’, Sight and Sound, vol. 57, no. 3, pp. 200-205.

Smith, TJ 2012, ‘ Extending AToCC: A Reply’, Projections, vol. 6, no. 1, pp. 71-78.

Forkner, SR 2015, ‘Two Shot Theory in Film Studies’, International Journal of Arts & Sciences, vol. 8, no. 2, pp. 155-162.

Harbord, J 2015, ‘The Potency of Film Editing: Rose Hobart Stop Return’, Contemporary Theatre Review, vol. 25, no. 1, pp. 68-72.

Freeland, C 2012, ‘Continuity, Narrative and Cross-Modal Cuing of Attention’, Projections, vol. 6, no. 1, pp. 34-42.

Berliner, T, Cohen DJ 2011, ‘The Illusion of Continuity: Active Perception and the Classical Editing System’, Journal of Film & Video, vol. 63, no. 1, pp. 44-63.

Smith, GM 2012, ‘Continuity is not Continuous’, Projection, vol. 6, no. 1, pp. 56-61.

Dancyger, K 2009, ‘Editing for Subtext: Altering the Meaning of the Narrative’, Cinéaste, vol. 34, no. 2, pp.38‐42.