Includes bibliographical references and index.

Herbert Zettl, vectors and approaches to building screen space : Approaches to building screen space ; Graphic vectors and index vectors: continuity and discontinuity ; 180° rule: continuity at the production stage ; Motion vectors: continuing, converging ; A special case: continuity with Z-axis index vectors and Z-axis motion vector ; Broader views for building screen space ; Ways of looking: looking at, looking into, creating an event ; Inductive versus deductive approaches to building screen space ; Deductive versus inductive sequencing and screen resolution -- Noël Burch, PMR vs. IMR, and continuity editing in a 5 x 3 matrix : IMR versus PMR ; Edwin S. Porter and the PMR ; Découpage and Burch's matrix ; The temporal axis: temporal relations between outgoing shot A and incoming shot B ; Temporal continuity ; Temporal reversal ; Temporal ellipsis ; The flashforward: a relatively rare occurrence ; The spatial axis: spatial relations between outgoing shot A and incoming shot B ; Applying Burch's matrix to Welles and Scorsese -- Hollywood theorists: Edward Dmytryk and Walter Murch : Edward Dmytryk ; Six rules for the ideal cut ; Walter Murch: six criteria for the ideal cut ; Murch and blink theory ; Conclusion : The tradition of Dmtryk and Murch -- David Bordwell, the narrative functions of continuity editing, and intensified continuity : Neoformalism versus interpretation: building on Russian formalism ; Story construction ; Editing and canonic Hollywood narration ; The temporal order of narrative events ; Case A. Simultaneous events, simultaneous presentation ; Case B. Successive events, simultaneous presentation ; Case C. Simultaneous events, successive presentation ; Case D. Successive events, successive presentation ; Narrative functions of manipulating temporal order ; The frequency of narrative events ; The duration of narrative events ; Equivalence: FD = SYD = SCD ; Reduction: ellipsis FD > SYD and SYD = SCD ; Reduction: compression (fast motion) FD = SYD and both FD and SYD > SCD ; Expansion: insertion FD< SYD and SYD = SCD ; Expansion: dilation (slow motion) FD = SYD and both SYD and FD < SCD ; Using slow motion for violence ; Bordwell on intensified continuity -- Eisenstein and montage : Eisenstein's contemporaries ; Dziga Vertov (1896 -1954) ; Lev Kuleshov (1899-1970) ; Vsevolod I. Pudovkin (1893-1953) ; Pudovkin versus Eisenstein ; What is "montage"? ; Six usages of the "montage" ; Eisenstein's early theorizing: the attraction and seizing the spectator ; Eisenstein's later work: making films and theorizing in the age of Stalin ; Eisenstein's later theorizing and vertical montage -- Realism and André Bazin : Early life, philosophical influences and ciné clubs ; Theorizing film ; Bazin on Rossellini and Paisan ; Bazin on De Sica and Bicycle thieves ; Bazin on Welles and Citizen Kane ; Bazin on Welles and The magnificent Ambersons ; Bazin on Renoir -- Dream and ritual: Andrei Tarkovsky and Maya Deren : Andrei Tarkovsky ; Tarkovsky and time pressure ; Maya Deren ; Maya Deren and Meshes of the afternoon -- Rhythmic and graphic editing : Rhythmic and graphic editing ; Music: internal or external rhythm? ; External rhythm: Cutting rhythm and the decrease in average shot length ; Factors that control internal rhythm ; Internal rhythm: tempo of the action ; Internal rhythm: pattern of movement and lens usage ; Internal rhythm: camera placement ; Internal rhythm: scope of the shot ; Internal rhythm: camera movement ; Internal rhythm: color ; Internal rhythm: repeated forms ; External rhythm: modification by transitions ; External rhythm: dissolves ; External rhythm: fades ; External rhythm: wipes ; External rhythm: the iris ; Graphic relations in editing.

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