This book is organized along similar lines to the Reisz-Millar book. However, the first section, the history section, is more detailed not only because the post-1968 period had to be added, but also because the earlier period can now be dealt with in a more comprehensive way. Research on the early cinema and on the Russian cinema and translations of related documents allowed a more detailed treatment than was available to Karel Reisz in 1952. Many scholars have also entered the theoretical debate on editing as the source of film art. Their debate has enlivened the arguments, pro and con, and they too contribute to the new context for the historical section of this book.
The second part of the book, on the principles of editing, uses a comparative approach. It examines how particular types of scenes are cut today relative to how they were cut 60 years ago. Finally, the section on the practice of editing details specific types of editing options in picture and sound.
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