Book Cover -- Half-Title -- Title -- Copyright -- Contents -- Acknowledgements and thanks -- Introduction -- 1 Historical perspective: how editing has evolved -- D.W.GRIFFITH -- THE SOVIET CINEMA -- EISENSTEIN -- ROBERT FLAHERTY -- BUNUEL AND SURREALISM -- THE COMING OF SOUND -- THE SILENT COMEDIANS -- PERSISTENCE OF VISION -- THE MOVIOLA -- SOUND PIONEERS -- LINEAR VERSUS REFLEXIVE -- DEEP FOCUS -- JEAN RENOIR -- WILLIAM WYLER -- ORSON WELLES -- DOCUMENTARY -- HUMPHREY JENNINGS -- JEAN VIGO -- YASUJIRO OZU -- AFTER WELLES -- NEO-REALISM -- EDITORS TURNED DIRECTORS -- THE NEW WAVE -- THE EFFECT OF TELEVISION -- WIDE SCREEN -- STEREOPHONIC SOUND -- THE SMALL SCREEN -- SONS OF POETS -- RECENT TRENDS -- 2 Shooting with cutting in mind -- THE SHOOTING PROCESS -- IDENTIFICATION AND SYNCHRONIZATION -- CONTINUITY -- THE LINE -- EYELINES -- DIRECTION OF MOVEMENT -- PACE OF MOVEMENT -- ANGLE AND DISTANCE -- SET DISCIPLINE -- THE OVERLAP -- DOCUMENTARY SHOOTING -- Identification and sync reference -- Static at front and end of shots -- Speech and silence -- Shooting for usability -- Continuity in documentary -- The value of an establishing shot -- The problem of shooting too close -- Looking and listening -- The significant detail -- Filming with a purpose -- Know your style -- THE PROPER USE OF SOUND -- SYNC(HRONOUS) SOUND -- WILD SOUND -- PAPERWORK -- Camera sheet (negative report) -- Sound report -- Continuity notes -- Shot lists -- 3 From cutting room to edit suite: the development of the technology -- 4 Editing procedure -- CHECKING YOUR MATERIAL FOR FAULTS -- SYNCHRONIZING THE RUSHES -- CODING THE RUSHES -- LOGGING -- TRANSCRIBING OR MARKING UP THE SCRIPT -- VIEWING THE SYNC RUSHES -- BREAKING DOWN THE FILM -- CUTTING -- VIDEO EDITING -- RANDOM ACCESS -- THE RELATIONSHIP BETWEEN DIRECTOR AND EDITOR.

5 The language of editing: giving your material form and refining its meaning -- SELECTION -- STRUCTURING -- BALANCE AND EMPHASIS -- THE DYNAMIC AXIS -- MOTIVATION -- POINT OF FOCUS -- SEQUENCING -- PARALLEL ACTION -- RHYTHM AND PACING -- REASONS FOR CUTTING -- POSITIVE REASONS: ANALYSING THE ELEMENTS OF DRAMATIC DEVELOPMENT -- OVERCOMING PROBLEMS BY CUTTING -- Uneven performance -- Fluffs -- Lack of reaction -- Mismatched action -- Discrepancies in pacing -- Unconvincing action -- Lack of static before or after movement -- Problems of matching sound and picture -- Unconvincing dialogue -- Junctions between scenes -- CUTTING AND REACTION: DRAMATIC EMPHASIS -- DIRECTORS AND EDITING-SOME EXAMPLES -- KUROSAWA RASHOMON (1950) -- BERGMAN PERSONA (1966) -- BUNUEL THE DISCREET CHARM OF THE BOURGEOISIE (1972) AND PHANTOM OF THE LIBERTY (1974) -- BRESSON UNE FEMME DOUCE (1969) -- GODARD PIERROT LE FOU (1966) -- ROHMER LOVE IN THE AFTERNOON (1972) -- PENN NIGHT MOVES (1975) -- POLANSKI CHINATOWN (1974) -- ALTMAN THE LONG GOODBYE (1972) -- CUTTING AND THE PRIVATE-EYE GENRE -- EDITING AND GENRE -- FORM AND CONTENT -- 6 Sound in editing -- THE EFFECT OF EQUIPMENT -- WORKING METHODS -- CATEGORIES OF SOUND -- DIALOGUE -- POST-SYNCHRONIZATION (ADR) -- EFFECTS -- FOLEY -- VOICE-OVER OR NARRATION -- MUSIC -- PLAYBACK -- TRACKLAYING -- DIALOGUE -- EFFECTS -- DUBBING CHARTS -- THE MIX -- 7 Completing the screen picture: from mix to -- THE 'CONTACT' -- REPRINTS AND DUPLICATION -- OPTICALS -- NEGATIVE AND ORIGINAL CUTTING -- GRADING AND PRINTING -- DUPLICATING THE MASTER -- STORAGE AND RETENTION OF THE MASTER -- THE DIGITAL ALTERNATIVE -- CONCLUSION -- 8 The elusive art: some editors and their work -- MARGARET BOOTH -- WILLIAM HORNBECK -- ADRIENNE FAZAN -- VERNA FIELDS -- DEDE ALLEN -- THELMA SCHOONMAKER -- ANNE COATES -- CAROL LITTLETON -- ROBERTO PERPIGNANI.

LOU LOMBARDO -- ANTONY GIBBS -- RICHARD MARKS -- HELEN VAN DONGEN -- STEWART MCALLISTER -- Glossary -- Suggested further reading -- Index.