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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. Continue reading →
May 23, 2016 Bottomore, S 1998, ‘Shots in the Dark’, Sight and Sound, vol. 57, no. 3, pp. 200-205. Continue reading →
May 23, 2016 Smith, TJ 2012, ‘ Extending AToCC: A Reply’, Projections, vol. 6, no. 1, pp. 71-78. Continue reading →
May 23, 2016 Forkner, SR 2015, ‘Two Shot Theory in Film Studies’, International Journal of Arts & Sciences, vol. 8, no. 2, pp. 155-162. Continue reading →
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. Continue reading →
May 23, 2016 Freeland, C 2012, ‘Continuity, Narrative and Cross-Modal Cuing of Attention’, Projections, vol. 6, no. 1, pp. 34-42. Continue reading →
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. Continue reading →
May 23, 2016June 2, 2016 Schaefer, R.J. 1997, “Editing strategies in television news documentaries”, Journal of Communication, vol. 47, no. 4, pp. 69-88. Continue reading →
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May 23, 2016 Dancyger, K 2009, ‘Editing for Subtext: Altering the Meaning of the Narrative’, Cinéaste, vol. 34, no. 2, pp.38‐42. Continue reading →
May 23, 2016 Gaudreault, A. 2002 Digital Editing and Montage: The Vanishing Celluloid and Beyond, Cinemas, vol. 13, pp. 69-107 Continue reading →
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May 23, 2016 McVey, M. 2010 Mise-en-scène, Montage, and the Unique Language of Film, MICHAEL MCVEY, SKIFFLEBOOM, viewed 16 March 2016, Continue reading →
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May 23, 2016 Katz, S.D., 1991. Film directing shot by shot: visualizing from concept to screen. Gulf Professional Publishing. Continue reading →
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May 23, 2016 How Film Shots Frame the Action in Film Making Available at: http://www.dummies.com/how-to/content/how-film-shots-frame-the-action-in-film-making.html Continue reading →
May 23, 2016 Bordwell, D., Thompson, K. and Ashton, J., 1997. Film art: An introduction (Vol. 7). New York: McGraw-Hill. (pp.218-240) Continue reading →
May 23, 2016May 23, 2016 Stoneking, B.M. 2013, EISENSTEIN’S FIVE TYPES OF MONTAGE, I HAVE NOTHING TO SAY &I’M SAYING IT, viewed 19 March 2016, Continue reading →
May 23, 2016 Wolf, M.J., 2006. Space, time, frame, cinema: Exploring the possibilities of spatiotemporal effects. New Review of Film and Television Studies, 4(3), pp.167-181. Continue reading →
May 23, 2016 OPEN CULTURE, 2014, A Visual Introduction to Soviet Montage Theory: A Revolution in Filmmaking, The best free cultural & educational media on the web, viewed 19 March 2016, Continue reading →
May 23, 2016 Nothelfer, C.E., DeLong, J.E. and Cutting, J.E., 2009. Shot structure in Hollywood film. Indiana University Undergraduate Journal of Cognitive Science, 4, pp.103-113. Continue reading →
May 23, 2016 Evans, R. 2016, A Guide to Montage Editing, MASTERINGFILM.COM, viewed 19 March 2016, Continue reading →
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May 23, 2016May 23, 2016 Elements of CINEMA.com 2016, Montage, a student’s guide to the fundamental of filmmaking, viewed 19 March 2016, Continue reading →
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May 23, 2016 Rampton, K. (2010). Cinematography: Camera Shots, Camera Angles, Camera Movements. Continue reading →
May 23, 2016 Eugeni, R. 2012. First person shot. New Forms of Subjectivity between Cinema and Intermedia Networks. Anàlisi, (Monogràfi), 19-31. Continue reading →
May 23, 2016May 23, 2016 Redfern, N. 2010. Statistical analysis of shot types in the films of Alfred Hitchcock. Continue reading →
May 23, 2016 Eisenstein, S. 1949. Film Form: Essays in Film Theory. Harvest, London. (pp. 45-62) Continue reading →
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May 23, 2016 Hamlyn, N. (2016). [online] Available at: http://search.proquest.com.ezproxy.lib.rmit.edu.au/docview/1305505378?rfr_id=info%3Axri%2Fsid%3Aprimo [Accessed 27 Mar. 2016]. Continue reading →
May 23, 2016 Hayward, Susan. “Soviet cinema/school.” In Hayward, Susan. Cinema studies : the Key Concepts, (p. 335-342). 2nd ed. London : Routledge, 2000. Continue reading →
May 23, 2016 Shaw, Dan. “Sergei Eisenstein” Senses of Cinema 30(Feb 2004) http://sensesofcinema.com/2004/great-directors/eisenstein/ (accessed Feb 26, 2013) Continue reading →
May 23, 2016 Bordwell, David. “Defending and defining the seventh art : the standard version of stylistic history.” In Bordwell, David. On the history of film style, (p. 12-45, 274-281). Cambridge, Mass. : Harvard University Press, 1997. Continue reading →
May 23, 2016 Pearlman, K. 2009 Cutting Rhythms, Focal Press, MA USA (Especially “Chater 9: Style”, pp. 153-180) Continue reading →
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May 23, 2016 Reid, Mark. “Cinema, Poetry, Pedagogy: Montage as Metaphor.” English Teaching: Practice and Critique 4.1 (2005): 60-69. Web. Continue reading →
May 23, 2016 Cowan, Michael. “The Heart Machine: “Rhythm” and Body in Weimar Film and Fritz Lang’s Metropolis1.” Modernism/Modernity 14.2 (2007): 225-32,234-248. Web. Continue reading →
May 23, 2016 Prince, S., and We Hensley. “THE KULESHOV-EFFECT + FILM EDITING AND RUSSIAN FILM HISTORY – RECREATING THE CLASSIC EXPERIMENT.” Cinema Journal 31.2 (1992): 59-75. Web. Continue reading →
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May 23, 2016 Suhr, Christian, and Rane Willerslev. “Can Film Show the Invisible?: The Work of Montage in Ethnographic Filmmaking”. Current Anthropology 53.3 (2012): 282–301. Web… Continue reading →
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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… Continue reading →
May 23, 2016 Enns, Clint. “NAVIGATING ALGORITHMIC EDITING: ALGORITHMIC EDITING AS AN ALTERNATIVE APPROACH TO DATABASE CINEMA.” Millennium Film Journal (2012): 66-72. Web. Continue reading →
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. Continue reading →
May 23, 2016 Bazin, Andre. “Bazin On Superimposition”. Film-philosophy.com. N.p., 2016. Web. 25 Mar. 2016. Continue reading →
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. Continue reading →
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. Continue reading →
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. Continue reading →
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May 23, 2016 LoBrutto, Vincent. “”Invisible” or “Visible” Editing: The Development of Editorial Styles and Strategies.” Cineaste 34.2 (2009): 43-47,11. Web. Continue reading →
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. Continue reading →
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]. Continue reading →
May 23, 2016May 23, 2016 Eisenstein, S. (trans & ed Leyda, J.) 1949 Film Form: Essays in Film Theory. Harvest, London, pp. 72-83. Continue reading →
May 23, 2016May 23, 2016 Dmytryk, E 1984, On Film Editing, Focal Press, MA USA, pp. 27-33. Continue reading →
May 23, 2016May 23, 2016 Bordwell, D 1984, ‘Jump Cuts and Blind Spots’, Wide Angle, vol. 6, pp 4- 11. Continue reading →
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. Continue reading →
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. Continue reading →
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