Technique of Film and Video Editing

Ken Dancyger is Professor Emeritus of Film and Television at Tisch School of the Arts at New York University, as well as the author of numerous books on screenwriting, editing, and production, including Alternative Scriptwriting (with Jeff Rush) and Writing the Short Film (with Patricia Cooper), The Director’s Idea, and Global Scriptwriting, all published by Routledge/Focal Press. Ken also conducts scriptwriting and editing workshops internationally.

Praise for the Sixth Edition"Ken Dancyger continues to update and improve this latest edition for what is already the ‘gold standard’ of books on editing. He knows good storytelling and how editing is integral to the process. He places this in historical context with theory and practice. If you are a student of editing, you should read this book."Scott Arundale, Editor; Author of Modern Post: Workflows and Techniques for Digital Filmmakers"Ken's additions to his book show all of us who love and study the craft of editing, a real understanding of the importance and stimulating impact editing has in helping tell a story, create mood, and shape characters."Samuel D. Pollard, Academy Award Nominee, Emmy Award-winning Editor, Eyes on the Prize (1990), 4 Little Girls (1997), When the Levees Broke: A Requiem in Four Acts (2006), ACORN and the Firestorm (2017)"From D.W. Griffith to MTV, from silent movies to action films, Dancyger explores not only history, techniques, and the social aspects of film and video, but he also looks at how technology has affected film and video making and editing. This isn't a quick read, but definitely worthwhile if you want to gain an understanding of what it takes to be an excellent director and editor."Theano Nikitas, Camcorder & Computer Video"Dancyger's book is an excellent introduction to the art of manipulating moving pictures and sound for students, amateurs, hobbyists and professionals alike."Videomaker.com

• AcknowledgementsIntroduction to the Seventh EditionSection 1: History of Film EditingChapter 1 The Silent PeriodChapter 2 The Early Sound FilmChapter 3 The Influence of the DocumentaryChapter 4 The Influence of the Popular ArtsChapter 5 The Influence of Other ArtsChapter 6 Editors Who Became DirectorsChapter 7 Experiments in Editing: Alfred HitchcockChapter 8 Experiments in Editing II: Robert AltmanChapter 9 New TechnologiesChapter 10 International AdvancesChapter 11 The Influence of Television and TheatreChapter 12 New Challenges to Filmic Narrative ConventionsChapter 13 The MTV Influence on Editing IChapter 14 The MTV Influence on Editing IIChapter 15 Changes in PaceChapter 16 The Appropriation of Style I: Limitation and InnovationChapter 17 The Appropriation of Style II: Limitation and InnovationChapter 18 The Appropriation of Style III: Digital RealitySection 2: Goals of EditingChapter 19 Editing for Narrative ClarityChapter 20 Editing for Dramatic EmphasisChapter 21 Editing for SubtextChapter 22 Editing for SurpriseChapter 23: Editing for AestheticsSection 3: Editing for the GenreChapter 24 ActionChapter 25 DialogChapter 26 ComedyChapter 27 DocumentaryChapter 28 Imaginative DocumentaryChapter 29 Innovation in Documentary IChapter 30 Innovation in Documentary IIChapter 31 Innovation in Documentary III: The Experimental DocumentarySection 4: Changes in GenreChapter 32 The Deep DiveChapter 33 The BiopicChapter 34 The Melodrama and Celine SciammaChapter 35 The Melodrama: Identity, Diaspora vs TraditionChapter 36 The Reimagining of the Screwball ComedyChapter 37 The Soft SatireChapter 38 The Minimalist ApproachSection 5: Principles of EditingChapter 39 The Picture Edit and ContinuityChapter 40 The Picture Edit and PaceChapter 41 Ideas and SoundChapter 42 The Sound Edit and ClarityChapter 43 The Sound Edit and Creative SoundChapter 44 Innovations of SoundChapter 45 Nonlinear Editing and Digital Technology IChapter 46 Nonlinear Editing and Digital Technology IIChapter 47 ConclusionFilmographyGlossarySelected BibliographyIndex