In memoriam Dede Allen
(December 3, 1923 – April 17, 2010)
The below entry was originally published the day before Dede Allen died. Allen was the highly innovative editor of such notable films as Bonnie and Clyde, The Hustler, Rachel, Rachel, Serpico, Dog Day Afternoon, Night Moves, Slap Shot, Reds, The Breakfast Club and Henry and June.
Read Matt Zoller Seitz's wonderful tribute to Allen: Dede Allen: The woman who turned film violence into poetry; as well as Julia Wright's informative article, 'Making the Cut: Female Editors and Representation in the Film and Media Industry', CSW Update Newsletter, March 2009, which mentions Allen.
Dissolve by Aaron Valdez (2003): "Found footage film constructed of hundreds of dissolves taken from old educational films and reassembled to create a meditation on our own impermanence".
Read also Jennifer Proctor, 'Différance, the Spectral, and the Work of Mourning in Aaron Valdez’s dissolve', 2004
Film Studies For Free presents a much requested links list today, one to openly accessible, high quality scholarly studies of film editing. Without further ado, let's jump cut straight to it:
- 'The Art of Film Editing', Special Issue of P.O.V: A Danish Journal of Film Studies, edited by Richard Raskin, Number 6 December 1998 - PDF containing:
- Søren Kolstrup, 'The notion of editing'
- Sidsel Mundal, 'Notes of an editing teacher'
- Mark Le Fanu, 'On editing'
- Vinca Wiedemann, 'Film editing – a hidden art?'
- Edvin Kau, 'Separation or combination of fragments? Reflections on editing'
- Lars Bo Kimersgaard, 'Editing in the depth of the surface. Some basic principles of graphic editing'
- Martin Weinreich, 'The urban inferno. On the æsthetics of Martin Scorsese's Taxi Driver'
- Scott MacKenzie, 'Closing arias: Operatic montage in the closing sequences of the trilogies of Coppola and Leone'
- Claus Christensen, 'A vast edifice of memories: the cyclical cinema of Terence Davies',
- Richard Raskin, 'Five explanations for the jump cuts in Godard's Breathless'
- André Bazin, 'Will CinemaScope Save the Film Industry?' (1953), Film-Philosophy, Vol. 6 No. 2, January 2002
- David Bordwell and Kristin Thompson, 'CHAPTER 1: Film as Art: Creativity, Technology, and Business', Film Art: An Introduction (McGraw-Hill, 2010, 9th ed.)
- Noël Carroll, 'Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland', Journal of Dramatic Theory and Criticism, Spring 1992
- Roger Crittenden, 'The historical perspective: how the function of editing has evolved', from The Thames and Hudson Manual of Film Editing (London: Thams and Hudson, 1981)
- Mary Debrett, 'Review of Valerie Orpen. Film editing: the art of the expressive. London and New York: Wallflower. 2003', Screening the Past, 2004
- Barry Dornfeld, 'Chronicle of a Summer and the Editing of Cinéma vérité', Visual Anthropology, Vol. 2, 1989
- Sarah Hatchuel, 'Leading the Gaze: From Showing to Telling in Kenneth Branagh's Henry V and Hamlet', Early Modern Literary Studies, 6.1, 1999
- Ils Huygens, 'Deleuze and Cinema: Moving Images and Movements of Thought', Image [and] Narrative, Issue 18, September 2007
Martin Lefebvre and Marc Furstenau, 'Digital Editing and Montage: The Vanishing Celluloid and Beyond', Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies
- Jason Lindop, 'Eisenstein: ‘Intellectual Montage’, Poststructuralism, and Ideology', Offscreen Journal, Volume 11, Issue 2 (February 28, 2007)
- Gabrielle Murray, 'Knowing Icons and Transforming Experience: Sergei Eisenstein’s ¡Que Viva México! (1932)', Senses of Cinema, Issue 52, 2009
- Christine E. Nothelfer, Jordan E. DeLong and James E. Cutting, 'Shot Structure in Hollywood Film', Indiana Undergraduate Journal of Cognitive Science 4 (2009) 103-113, 2009
- Jennifer Proctor, 'Différance, the Spectral, and the Work of Mourning in Aaron Valdez’s dissolve', 2004
- Tim J. Smith, 'An Attentional Theory of Continuity Editing', PhD thesis, University of Edinburgh, 2005 (see also descriptive statement here)
- Martin Stollery, 'Review of Film Editing: The Art of the Expressive by Valerie Orpen', Scope, Issue, February 2005
- Yuri Tsivian, 'What is wrong with the beard : Eisenstein’s Ivan the Terrible as an eccentric tragedy', Cinémas : revue d'études cinématographiques / Cinémas: Journal of Film Studies, vol. 11, n° 2-3, 2001, p. 255-270
- Mike Wayne, 'Review of Film Editing: History, Theory and Practice by Don Fairservice and Film Production Theory by Jean-Pierre Geuens', Scope, August 2003