Enhanced descriptions from Syndetics:

Editing and Montage in International Film and Video presents a theoretical and practical approach to the art of editing. In this book, Luís Fernando Morales Morante explores the international history, technology, theory, practical techniques, psychology, and cognitive effects of editing across a range of media from around the world, featuring case studies from film, dramatic television, news media, music videos, commercials, and mobile-delivered formats, from the films of Sergei Eisenstein to Michael Jackson's "Thriller" to coverage of the 2012 U.S. presidential elections. The book includes self-study exercises throughout to help readers put theory into practice.

Table of contents provided by Syndetics

• Introduction (p. xiii)
• Chapter 1 Editing and Montage: Definition and Scope of Practice (p. 1)
• The definition of Montage (p. 2)
• Encyclopedic Definitions (p. 2)
• Theoretical Definitions (p. 3)
• Filmmakers' Definitions (p. 4)
• Practical Definitions (p. 5)
• The Definition in Different Countries (p. 5)
• Does Montage = Editing? (p. 5)
• Postproduction (p. 6)
• Proposed Definition (p. 8)
• Chapter 2 Development of Techniques and Theories (p. 11)
• Discovery and First Empirical Techniques (p. 11)
• Porter: Continuity (p. 11)
• Griffith: Dramatic Emphasis (p. 12)
• Models and Theoretical Classifications of Montage (p. 14)
• Chapter 3 Spaces, Functions and Possibilities of Editing (p. 49)
• The Narrative Units (p. 49)
• Editing as a Creative Process (p. 51)
• Narrative Capacities of Editing (p. 56)
• Aims of Editing (p. 59)
• Chapter 4 Cuts, Transitions and Audiovisual Grammar (p. 65)
• When to Cut (p. 65)
• Transitions: Constructing Time and Space (p. 69)
• Audiovisual Grammar (p. 75)
• Camera Height (p. 82)
• Lighting Continuity (p. 83)
• Breaking Established Rules (p. 83)
• Chapter 5 A Theoretical Model of Editing (p. 87)
• First Level: Operational (p. 88)
• Second Level: Intention (p. 90)
• Predominant Intention (p. 93)
• Third Level: Spatio-temporal Perception (p. 93)
• Narrative Coherence and Plausibility (p. 94)
• Chapter 6 Technological Beginnings and Evolution of Editing (p. 97)
• Linear and Non-linear Editing (p. 98)
• Types of Linear Editing (p. 100)
• Editing in the Digital Era: Non-linear Editing (p. 101)
• The Basic differences between Non-linear and Linear Editing (p. 102)
• The Interphase (p. 102)
• Non-linear Editing Operating Procedures (p. 103)
• Videotape Formats (p. 107)
• HD (p. 112)
• Small-screen Formats (p. 113)
• Chapter 7 Filming with Editing in Mind (p. 117)
• Discontinuous Filming with a Single Camera (p. 117)
• Continuous Shooting with Several Cameras (p. 122)
• Chapter 8 Editing in Practice (p. 125)
• Action Sequences (p. 125)
• Dramatic Scenes (p. 141)
• Science fiction Scenes (p. 148)
• Comedy Sequences (p. 156)
• News Items (p. 164)
• Advertising (p. 173)
• Video Clips (p. 178)
• Small-screen Formats (p. 186)
• Special Formats (p. 189)
• Chapter 9 Psychological and Perceptual Bases of Editing (p. 195)
• Perception as an Intellectual Process (p. 195)
• Editing as a Unifying Mechanism, of Projection and Identification (p. 195)
• Editing and the Construction of a Realistic Impression (p. 197)
• The Competent Viewer (p. 198)
• The Phi Phenomenon, Persistence of Vision and Flickering (p. 199)
• Perceptual Approaches to Editing (p. 200)
• Measuring information Processing Responses (p. 204)
• A Critical Appraisal of the Cognitive Models of Editing (p. 207)
• Chapter 10 Research on Editing and Its Effects (p. 209)
• Perception or the Cut (p. 209)
• Visual Continuity (p. 211)
• Information Order (p. 214)
• Complexity of Audiovisual Information (p. 215)
• Redundancy (p. 217)
• Emotional Effects (p. 219)
• Bibliography (p. 227)
• Index (p. 235)