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30 of 37 people found the following review helpful:
5.0 out of 5 stars
Want to make films? Read this book!, November 23, 1997
First you have to find it. Incidentally, I am sure it is not extremely difficult to find, for I happen to have found it accidentally in a film book store in Hollywood. Needless to say this book provides any potential film maker with an exciting view of the craft, turning mechanics into art. It is written in a clear style and in an almost profound way it will change the way you understand cinema and editing. Reisz and Millar will teach you how to turn the art of film into film art.
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4 of 4 people found the following review helpful:
5.0 out of 5 stars
THE Book on Film Editing, January 28, 2010
This review is from: Technique of Film Editing, Reissue of 2nd Edition, Second Edition (Paperback)
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This review is for the enhanced second edition, published in 2010. The Technique of Film Editing is the seminal work on the subject of editing cinematography. It was originally published in 1953 and revised and expanded as a second edition in 1968. The 2010 printing is essentially a reprint of the 1968 second edition with an updated forward. That does not diminish the book in the least, the 1968 edition is as valid today as the day it was published. Although we live in an increasingly digital world, this book is every bit as pertinent to the digital editor working with Final Cut as it is to a celluloid editor working on a Movieola. For this book is not about software or hardware, but about the process and art of editing. It makes no difference whether the images were captured on silver halide film, video tape or a silicon chip. The Technique of Film Editing is comprehensive, it begins with a history of editing and then moves on to the practice of editing in a variety of cinemagraphic styles, from action and comedy sequences, documentary reportage, montages and dialog sequences, to name only a few. What follows next is a discussion of the timeless principles of editing, such as timing, pace and rhythm. In the second part of the book, Reisz and Millar explore the work of some notable directors and editors. They point out to us how seemingly minor choices in framing and editing can have a profound impact on how the scene is perceived by the audience. The real examples (film frames are printed that coincide with the text) from real films make this section particularly useful. Through the printed examples, you can precisely see the various points the authors are making. This was my favorite part of the book - I could understand the choices the directors and editors made and I learned much from that. If you are involved with film editing, in any of its various forms, this is a book you should not be without. Prior to this reprinting, older copies were selling at several times this price in used bookstores and online. Focal Press is to be commended for bringing back a great work.
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1 of 1 people found the following review helpful:
3.0 out of 5 stars
Just Borrow it from Your Local Library ..., July 21, 2010
This review is from: Technique of Film Editing, Reissue of 2nd Edition, Second Edition (Paperback)
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First printed in the 1950s, this text has been recently "enhanced" (the publisher's word) and reissued. Though slightly updated, it positively reeks of musty ideas and dusty approaches. Once upon a time, this was THE text on editing ... now, it's simply a dinosaur. Why this text "pales" in comparison to others: -The microscopic font makes it a nightmare to plow through this dense work. 346 pages of small-print block-text? Erg. Note to Focal Press: remember that your reader is both an intellectual AND a VISUAL ARTIST. There's nothing like a bland text to alienate a film-maker. -It is unnecessarily verbose. Again, the editors for the newest edition should have demanded more visual demonstrations. "A picture is worth a thousand ..." well, you know. Take a cue from the recent, successful works on editing ... less text, more actual examples. -They needed to update at least SOME of the examples (El Cid, Battleship Potemkin, Tirez sur le Pianiste ... why not just shoot my students with a tranquilizer dart?). My students learn best from films they know and love (I know it's disappointing to hear/read, but that's the reality). It is LITERALLY a fight to get my students to read and apply this material. With engaging, current texts available I cannot dream of assigning anything from this antique. Ever. This piece was painfully dated when I initially read it in the mid-90s. (And, I recall being irked about the price even then.) Heavier editing, extensive updating, and color plates (of contemporary films) could have breathed new life into this relic. As it stands, I would simply suggest picking up ANY other editing text ... or find this for fifty-cents at a garage sale. It still has value ... when regarded as an artifact of bygone years.
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