![]() ![]() Interpretation is a process of building up, not digging in. Or we may even make analogy with archaeology, treating a text “as having strata, with layers or deposits of meaning that must be excavated.” Bordwell thinks this way of talking obscures what interpretation actually does. We may talk of “uncovering” or “pulling out” meaning. He starts by challenging the language we employ when talking about interpretation. But he is also a cognitivist, and he organizes his study not chronologically, but rather as a sort of taxonomy of the mental tools that critics use to find patterns, draw analogies, and build interpretations. Looking at both intellectual and social factors, he charts how and why various interpretative methods fell in and out of fashion at the times they did. His chief question is: how are interpretations made? Although on the granular level the book deals with issues specific to cinema, its broader arguments (the ones I’ll be focusing on here) are more or less equally applicable to literary interpretation.īordwell is first and foremost a historian of film, and so his book takes a historical approach. I was approached by the head of the editing department, Bill Russo, ASE, about the possibility of researching editing history and theory for the purposes of teaching incoming students there.When we interpret a text, are we uncovering a hidden meaning? Or are we imposing a meaning from the outside? Film scholar David Bordwell’s book Making Meaning: Inference and Rhetoric in the Interpretation of Cinema confronts this question head on in a rigorous and analytical way. in Editing at the Australian Film Television and Radio School (AFTRS). My interest in writing this book began when I was finishing the practical course work for my M.A. 202 Fast Motion.207 Two Quick Fast Motion Case Studies. 165 Style Case Studies.166 Contemporary Style: After the New Wave. 163 Points along the Spectrum from Collision to Linkage. 156 Points along the Spectrum from Montage to Decoupage. 135 Creating Structure and Rhythm Simultaneously. 97 Case Study: “Now” Scene from Thursday’s Fictions. 68Ĭase Study in Tension, Release, and Synchronization: Broadcast News. 44 Pacing.47 Trajectory Phrasing.52 Endnotes. 23 Shifting the Discussion from Music to Movement. 8 Perceiving Rhythm in the Rushes or Dailies.10 Mirroring Rhythm. ISBN: 978-4-0 For information on all Focal Press publications visit our website at 09 10 11 TR899.P42 2009 778.5’35-dc22 2008044538 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ![]() Includes bibliographical references and index. Cutting rhythms : shaping the film edit / Karen Pearlman. ![]() Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (!44) 1865 843830, fax: (!44) 1865 853333, E-mail: You may also complete your request on-line via the Elsevier homepage (), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Library of Congress Cataloging-in-Publication Data Pearlman, Karen. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. TOKYO Focal Press is an imprint of Elsevierįocal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK. ![]()
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