Index

Page numbers followed by “f” denote figures

A

A Beautiful Mind, 33f

A Bout de Soufflé, 176

Abstract movement, 32

Accents of stress, 58

Action

description of, 117–119, 191

parallel.. See Parallel action

prolonging of, through slow motion, 204

through conflict, 214–215

in two-handers, 231–232

Action films, 133

Actively perceiving rhythm, 8–9

Actors

actions of, 117–119

improvising by, 119

movement by, 115–117

Affective flow, 35

Affective phrasing, 32

Allen, Dede, 210

Allen, Jaz, 27f

Allen, Richard James, 85f, 98, 106

Altman, Robert, 51f

American Beauty, 19f

Analysis, 2

Anderson, William, 191

Apocalypse Now, 169–171

Aronofsky, Darren, 174

Aronson, Linda, 83

Assemblies, 138

Asymmetry, 35

“Attractions,”, 25, 162

Australian Screen Editors Guild, 87–88

B

Bafaloukos, Ted, 63f

Baraka, 155

Bartenieff, Irmgard, 53, 59

Barthes, Roland, 15

Battleship Potemkin, 31f

Beats, 119–121, 127, 225–226

Bennett, Bill, 229

Bennett, Sara, 136

Berdan, Brian, 179

Beresford, Bruce, 171

Bergman, Ingrid, 158f, 228

Bergson, Henri, 6–7

Biomechanics, 116

Blade Runner, 18f

Bogart, Humphrey, 158f

Bonnie and Clyde, 210

Bordwell, David, x, xx–xxi, xxiv, 47, 60, 137

Boyle, Peter, 121

Bozzuffi, Marcel, 239

Bracco, Lorraine, 149

Brando, Marlon, 143

Breaker Morant, 171–174

Breath rhythm, 17, 19f, 20

Brief History of Time, A, 63f

Broadcast News, 71–79

Brooks, Albert, 71

Brooks, James L, 71, 75

Burstyn, Ellen, 175, 175f

C

Cabaret, 56f

Cambern, Donn, 1

Cameron, James, 242

Canalese, Emma, 98

Casablanca, 158f, 158–159

Case studies. See also specific movie

chases, 237–245

collision, 167–169, 174–176

decoupage, 167–169, 171–174

emotional rhythm, 121–129

event rhythm, 142–151

fast motion, 208–210

linkage, 169–171

montage, 169–171, 174–176

parallel action, 185–200

physical rhythm, 98–107

slow motion, 202–207

style, 166–179

synchronization, 71–79

tension and release, 71–79

two-handers, 218–231

Castle-Hughes, Keisha, 37f

Caught in the Draft, 65

Chariots of Fire, 202–204

Chase

case studies of, 237–245

conflict creation, 234–237

construction of, 232

excitation, 233–234, 240–241

French Connection, The, 239–242, 245

Girl and Her Trust, The, 237–239, 242, 245

identification, 233

intensification in, 236–238, 241

Terminator, 2, 242–245

Chicago, 96f

Choreographic Cognitions, 26–27

Choreography

definition of, 23

editing associated with, 23–42, 64, 96, 248

phrase in, 30

Cine-phrases, 248

Citizen Kane, 160

Claxton, Guy, 3, 6

Clemenson, Christian, 71

Clockwork Orange, A, 38f

Close-ups, 202, 233

Collette, Toni, 121, 142

Collision

case studies of, 167–169, 174–176, 229

decoupage and, 167–169, 229

definition of, 162

Eisenstein's use of, 154, 160–162

energy from, 162

of energy qualities, 166

excitation through, 235

juxtapositions as example of, 162–163

linkage and, 165–166, 177

montage and, 174–176

physical rhythm through, 162–163

Psycho, 167–169, 168f

Requiem for a Dream, 174–176

Colour Box, 92f

Comedy, 208

Conducting, 25

Conflict

action through, 214–215

in chases, 234–237

defining of, 225

Eisenstein's notion of, 235

environmental, 216, 220

internal, 216

interpersonal, 216, 219–220

levels of, 216

social, 216, 220

Connelly, Jennifer, 33f, 174, 175f

Content curve, 234–235

Cooper, Dany, 7

Coppola, Francis Ford, 142, 169–171

Corsitto, Salvatore, 143

Corwin, Hank, 179

Crash, 36f

Creativity, 5–6

Cross, Ben, 203, 203f

Crosscutting, 234

Crowe, Russell, 33f

Culture, 134

Cusak, Joan, 74, 74f, 76

Cut(s)

jump, 176–178

match, 57, 165

timing of, 196–197

Cutting

content curve and, 234

of emotional rhythms, 112–113, 129

fast rate of, 48

match, 165

as movement, 31f, 32

performance as guide for, 111

rate of, 47–48

D

Dailies, 10

Daldry, Stephen, 121

Dancing edits, 96–97

Dancyger, Ken, 177, 213, 233–234, 236

Danes, Claire, 209

Dangar, Henry, 229

Davis, Geena, 207f

Day, Matt, 229

Decision making, 5, 25

Decoupage

case studies of, 167–169, 171–174, 229

collision and, 167–169, 229

definition of, 156–157

examples of, 160

linkage and, 164, 171–174

montage vs., 160, 179

Psycho, 167–169, 168f

reasons for using, 156–157

rhythm and, 157

temporal ellipsis and, 157–160

Decugis, Cecile, 177

Deleuze, Gilles, 68–69

Devices

definition of, 181

fast motion.. See Slow motion

mixed motions, 210

parallel action.. See Parallel action

purpose of, 181

slow motion.. See Slow motion

speed ramping, 210–211

Digital nonlinear editing technology, 138

Dillon, Matt, 36f

Directors

editing style and, 153

synchronization with, 69–70

Discontinuous continuity, 177

Dissolves, 170–171

Documentaries, xxiv, 57, 61, 63f, 159

Documentary, 4, 54, 58f, 63f, 109, 111, 112f, 119, 139–140, 202

Doesn’t Fit in a Box, 27f

Donen, Stanley, 208

Dramatic plot, 135

Dramatic question, 135

Duration of shots, 45, 47, 166

E

Effort, 53

Eisenstein, Sergei, 24–26, 31f, 55, 116, 154, 160–161, 163, 235

Ellipsis, 135–136, 157–160

Emotion(s)

description of, 65, 84, 191

in two-handers, 231–232

types of, 205

Emotional rhythm

actor's actions, 117–119

beats, 119–121, 127

case study of, 121–129

cutting of, 112–113, 129

description of, 87

Hours, The, 121–129, 141–142

shaping of, 250

tension created through, 151

Empathetic response, 62

Empathize, 233

Empathy

definition of, 62

kinesthetic, 10–11, 20, 34, 59, 64, 87, 204, 234

Emphasis, 25, 28–32, 38–39, 45–46, 52, 57–58, 64, 72, 93, 137, 140, 148, 171, 174, 191, 201, 212, 217, 224, 236

Energy

from collision, 162

description of, 53

throwing the, 114, 120, 136

Energy trajectories, 55, 57

English Patient, The, 56f

Environmental conflict, 216, 220

Erin Brockovich, 178

Event

definition of, 85, 87

movement of, 85, 87

prolonging of, through slow motion, 204–206

Event rhythm

case studies of, 142–151

creation of, 137

definition of, 131

description of, 87, 151–152

emotional rhythm and, 142

of films, 131–133

in Godfather, The, 142–146

in Goodfellas, 146–151

physical rhythm and, 142

reintegrating rhythms, 141–142

shaping of, 131–133, 135–137, 140, 250

structure creation with, 138–140

Excitation, 233–235, 240–241

Expertise, 4

Explicit knowledge, 2, 251

F

Fade to black, 230

Fairservice, Don, 186

Fast motion

case studies of, 208–210

comedy through, 208

confusion created by, 210

creation of, 207–208

description of, 182

function of, 208, 211

Romeo and Juliet, 208–209

slow motion and, 210

Two for the Road, 208–210

Fast pacing, 50, 52f

Fiennes, Ralph, 56f

Finney, Albert, 209

Fleming, Victor, 218, 220

Fragments, 31

Fraleigh, Sandra Horton, 54

Frame, choosing a, 44–45

Freeze-frames, 147–148

Freidkin, William, 239

French Connection, The, 239–242, 245

Furlong, Edward, 242

G

Gable, Clark, 219f

Gallipoli, 188–191

“Gangsta” films, 211

Giannetti, Louis, 161

Gibson, Mel, 189, 190f

Gibson, Ross, 17, 20

Girl and Her Trust, The, 237–239, 242, 245

Goals, 218

Goddard, Jean-Luc, 176

Godfather, The

event rhythm in, 142–146

parallel action in, 192–197, 195f

Gone with the Wind, 218–222, 232

Goodfellas, 146–151

Gosford Park, 51f

Grant, Cary, 51f

Great Train Robbery, The, 185–187

Greenberg, Jerry, 239

Greenfield, Amy, 105

Grey, Jay, 56f

Griffith, D.W., 183, 237–239, 241

Grodal, Torben Kragh, 65

H

Hackman, Gene, 239

Haneke, Tom, 97

Harrelson, Woody, 178, 179f

Harris, Jon, 198

Heim, Alan, 1

Hepburn, Audrey, 209

Herlings, Terri, 104f

Hirsch, Paul, 1

His Gal Friday, 51f

Hitchcock, Alfred

Notorious, 228

Psycho, 67f, 167–169, 168f

Strangers on a Train, 187–188

Hopkins, Anthony, 229, 230f

Hours, The, 121–129, 141–142

Howard’s End, 229–231

Hudson, Hugh, 202

Humphrey, Doris, 34–35, 39

Hunter, Holly, 71–73, 72f–73f

Hurt, William, 71, 74–75, 77f

I

Identification, 233

Implicit learning, 4

In the Bedroom, 86f

Inarritu, Alejandro Gonzalez, 178

Intensification, 236–238, 241

Internal conflict, 216

Interpersonal conflict, 216, 219–220

Intolerance, 241

Intuition

definition of, 6–7, 21

development of, 1–2, 6

elements of, 3–6

explicit knowledge and, 2

instinct vs., 1

respect for, 251

rhythmic, 1–22

thinking associated with, 3–7

Island, Home, Country, 58f

Ivory, James, 229

J

Jackson, Peter, 93f

Jarmusch, Jim, 159

Jeopardy-enhancing elements, 241

Judgment, 5

Jump cuts, 176–178

Juxtapositions, 162–163

K

Kahn, Sheldon, 1

Kern, Hal C., 220

Kinesthetic antipathy, 139

Kinesthetic empathy, 10–11, 20, 34, 59, 64, 80, 87, 204, 234

Kiss or Kill, 229

Knowledge, 15, 251

Koyaanisqatsi, 155

Kress, Carl, 1

Kubrick, Stanley, 38f

L

Laban, Rudolf, 53, 59

Learning, implicit, 4

Leigh, Janet, 167

Leigh, Vivien, 218, 219f

Leto, Jared, 174, 175f

Levin, Sidney, 1

Lewis, Juliette, 178, 179f

Linkage

Apocalypse Now, 169–171

approaches used for, 165

case studies of, 169–171, 171–174

collision and, 165–166, 177

decoupage and, 164, 171–174

of energy qualities, 166

montage and, 169–171

Pudovkin's use of, 154, 163–165

Liotta, Ray, 147

Live Free or Die Hard, 86f

Lord of the Kings, Return of the King, 93f

Lorenz, Konrad, 6

Lye, Len, 92f

M

MacLaine, Shirley, 224

Marks, Richard, 1, 72, 72f, 78f, 79

Marshall, Rob, 96f

Martino, Al, 145f

Match cut, 57, 165

Matewan, 62f

McKee, Robert, 204, 213–216

Meditation, 70, 79

Mendes, Sam, 19f

Metz, Christian, 199

Meyerhold, Vsevolod, 115–116

Mills, Jane, 178

Minghella, Anthony, 56f

Mirror, The, 30f

Mirror neurons, 11–12, 16–17, 20, 34, 59, 64, 80, 234

Mirroring rhythm, 10–13

Mise-en-scène, 221

Modell, Arnold, 11

Montage

Apocalypse Now, 169–171

case studies of, 169–171, 174–176

collision and, 174–176

decoupage vs., 160, 179

definition of, 155, 157

Eisenstein's view of, 162

examples of, 155, 160

linkage and, 169–171

in realist narrative films, 156

Requiem for a Dream, 174–176

temporal ellipsis and, 157–160

Moore, Julianne, 121, 128f, 141

Morris, Errol, 63f, 112f

Motion effects. See Fast motion; Slow motion

Movement

abstract, 32

by actors, 115–117

choreographing of, 249

cutting as, 31f, 32

definition of, 8, 10

Effort and, 53

as emotional content, 33

of emotions, 84–85

of events, 85, 87

excitation created through, 233–234

physical, 84, 249

physical response to, 11

pulses in, 29, 64

rate of, 50, 51f

rechoreographing, 93–94

shaping of, 26

slow motion effects on, 201

trajectory of, 55

types of, 84–88

watching of, 12

Movement phrases, 29–34

Murch, Walter, 16, 20, 111, 118

Murderer in the Dark, 65

Music

composing of, 24

conducting of, 25

editing and, 24–28, 97

overlapping of, 196–197

perceiving rhythms and, 8–9

N

Natural Born Killers, 178, 179f

Navigator, The, 204–206

Newsfront, 69f

Newton, Thandie, 36f

Nichols, Mike, 223

Night at the Opera, A, 49f

No Surrender, 85f

Notorious, 228

Noyce, Phillip, 69f

O

O'Connor, Francis, 229

Oldham, Gabriella, 1

Orchestration, 24–25

O'Steen, Sam, 223, 226

Overlapping of sound and music, 196–197

P

Pacing

cutting rate, 47–48

definition of, 47

excitation created through, 234

fast, 50, 52f

rapid, 50, 51f

rate of change or movement within a shot, 48–49

rate of overall change, 49–50, 51f

slowing of pace, 49

Pacino, Al, 192

Pankow, Bill, 1

Parallel action

case studies, 185–200

description of, 182–184, 199

function of, 212

Gallipoli, 188–191

Godfather, The, 192–197, 195f

Great Train Robbery, The, 185–187

Snatch, 197–200

Strangers on a Train, 187–188

two-handers and, 231

Participation, 62–63

Patrick, Robert, 242

Penn, Arthur, 210

Perceiving rhythm

actively, 8–9

in dailies, 10

description of, 7–8

music and, 8–9

in rushes, 10

Perkins, Anthony, 167

Pesci, Joe, 149

Phrase(s)

in choreography, 30

of dance movements, 39

definition of, 38

movement, 29–34

Physical movement, 84, 249

Physical rhythm

case study of, 98–107

collision as element of, 162–163

dancing edits, 96–97

definition of, 91

description of, 84

emotional rhythm and, 142

event rhythm and, 142

kinesthetic empathy created through, 87

movement patterns in, 91–92

physical storytelling, 94, 95f, 97, 100, 106

rechoreographing, 93–94, 97

singing the rhythm, 97–98

tension created through, 151

Thursday’s Fictions, 98–107, 109, 141, 252

Physical storytelling, 94, 95f, 97, 100, 106

Pickup, 221–222

Pileggi, Nicholas, 146

Plot, 46, 133–134

Point-of-view shots, 233

Porter, Edwin, 185–187

Postcards from the Edge, 223–228, 232

Problem-driven research, 247

Psycho, 67f, 167–169, 168f

Pudovkin, Vsevolod, 137, 154, 163–165

Pulp Fiction, 14f

Pulse, 28–29, 64

R

Raging Bull, 95f

Ramachandran, V.S., 12

Rapid pacing, 50, 51f

Rawlings, Terry, 203

Rechoreographing, 93–94, 97

Reggio, Godfrey, 155

Reintegrating rhythms, 141–142

Requiem for a Dream, 174–176

Resonance of bodily actions, 67

Restak, Richard, 2, 11

Reynolds, William, 145, 193

Rhythm

attributes of, 43

awareness of, 9, 247, 251

being, 15

breath, 17, 19f, 20

composing of, 24

crafting of, 34

creation of, 13, 15, 20, 59

culture and, 134

definition of, 57–58, 80

emotional. See Emotional rhythm

event. See Event rhythm

feeling of, 65, 247–248

function of, 61, 79

mirroring, 10–13

perceiving. See Perceiving rhythm

physical. See Physical rhythm

physical effect on spectators, 65, 67

pulse, 28–29

reintegrating of, 141–142

shaping of, 140, 247, 249

singing the, 97–98

sources of, 7

storytelling through, 67

tension and release shaped by, 61–62

tuning into, 16

Rhythmic montage, 26

Rhythmic thinking, 15–20, 247–248

Ridgway, Linda, 104f

Ritchie, Guy, 197–198

Romeo and Juliet, 208–209

Rough cut, 138

Rumination, 6

Rushes, 10

Russell, Rosalind, 51f

S

Salt, Barry, 137

Sarandon, Susan, 207f

Sayles, John, 61, 62f

Scene

definition of, 213–214

at least one value in, 216–217

turns in. See Turning the scene

Schon, Donald, 2

Schoonmaker, Thelma, 95f, 146

Schwarzenegger, Arnold, 242–244

Scorsese, Martin, 24, 95f, 146

Scott, John, 205

Scott, Ridley, 18f, 206

Sensitivity, 5

Setups, 168

Sheen, Martin, 169, 170f

Shire, Talia, 145f

Shots

duration of, 45, 47, 166

intensification creation, 236–238

lengths of, 29, 64

pattern of, 222–223

pickup, 221–222

placement of, 45–47

pulse of, 29, 64

rate of change or movement within, 48–49

Simon, Paul, 199

Singing the rhythm, 97–98

Slow motion

case studies of, 202–207

Chariots of Fire, 202–204

creation of, 200–201

description of, 182

emphasis through stress achieved through, 201

fast motion and, 210

function of, 211

movement affected by, 201

Navigator, The, 204–206

prolonging of event through, 204–206

purpose of, 201

Thelma and Louise, 206–207

Snatch, 197–200

Soderbergh, Steven, 178

Spacek, Sissy, 86f

Speed ramping, 210–211

Stage space, 38–39

Stanislavski, 117, 119

Step printing, 200

Stone, Olive, 178–179

Story values, 215–216

Storytelling

physical, 94, 95f, 97, 100, 106

shaping event rhythm and, 132

through rhythm, 67

Stranger Than Paradise, 159

Strangers on a Train, 187–188

Streep, Meryl, 224

Stress accent, 57–59, 201

Style

case studies of, 166–179

collision. See Collision

contemporary, 176–179

decoupage. See Decoupage

defining of, 153

director's role in creating, 153

jump cuts, 176–178

linkage. See Linkage

montage. See Montage

range of choices for, 153–155

temporal ellipsis, 157–160

Symmetry, 35

Synchronization

case study of, 71–79

ceremony of, 68–69

description of, 68–71

with director, 69–70

T

Tarantino, Quentin, 14f

Tarkovsky, Andrey, 8, 10, 25–26, 28, 30–31

Temporal ellipsis, 157–160

Tension and release

case study of, 71–79

creation of, 61–67, 111, 125, 249

through emotional rhythm, 151

through physical rhythm, 151

Terminator, 2, 242–245

Thelma and Louise, 206–207

Thin Blue Line, 112f

Thinking

intuitive, 3–7

rhythmically, 15–20, 247–248

Thomas, Kristen Scott, 56f

Thompson, Emma, 229, 230f

Thompson, Jack, 172f, 173

Thornley, Jeni, 58f

Throwing the emotion, 118

Throwing the energy, 114, 120, 136

Throwing the Energy game, 113–115

Thursday’s Fictions, 98–107, 109, 141, 252

Time, 188–191

Timing

case study of, 173

choosing of duration, 45

choosing of frame, 44–45

choosing the placement of a shot, 45–47

definition of, 44–45

description of, 248

movement sequence created through, 30

Tiomkin, Dimitri, 187

Trajectory phrasing, 43–44, 52, 248–249

Truman Show, The, 159–160

Turning the scene

case studies of, 222–223, 226–227

description of, 215, 217

21 Grams, 178

Two for the Road, 208–210

Two-handers

action through conflict, 214–215

case studies, 218–231

description of, 213–214

Gone with the Wind, 218–222, 232

Howard’ s End, 229–231

Kiss or Kill, 229

Notorious, 228

parallel action and, 231

Postcards from the Edge, 223–228, 232

scene, 213–214

summary of, 231–232

turns, 215

value-charged condition, 215–217

V

Value charge, 215–217

Van Leeuwen, Theo, 25, 29, 67

Venora, Diane, 209

Vertov, Dziga, 91, 202

W

Walong, Bernadette, 85f

Walsh, Martin, 3

Ward, Vincent, 204–205

Weir, Peter, 159, 188

West Wing, The, 132f

Whale Rider, 37f

Wilkinson, Tom, 86f

Willis, Bruce, 86f

Woodward, Edward, 172f

Working memory, 2–3

Worth, Merle, 1, 250

Y

Yezerski, Michael, 106

Z

Zeigler, William H., 187

Zinner, Peter, 145, 193