The aesthetics of editing -the choice of images, their timing and sequence- is at the center of film and video production. This course will focus on the analysis of structure and styles of editing of both fiction and non-fiction work. Major topics include rhythm, continuity editing, mise-en-scene, montage, cinematic time and space, among others. We will discuss the creative relationship between editor and director: how they interact to find the pace and structure of the film. Lectures and screenings of excerpts from selected films will be used to explore the strategies and techniques used by editors to create connections between images. Students will be encouraged to apply the editing concepts learned in class in their own projects. Readings will include Karl Reisz, Serguei Eisenstein, V.I. Pudovkin, Andre Bazin, Roy Thompson, Alert Jurgenson, Gabriella Oldham, Joseph Robertson, Walter Murch, among others.

The aesthetics of editing -the choice of images, their timing and sequence- is at the center of film and video production. This course will focus on the analysis of structure and styles of editing of both fiction and non-fiction work. Major topics include rhythm, continuity editing, mise-en-scene, montage, cinematic time and space, among others. We will discuss the creative relationship between editor and director: how they interact to find the pace and structure of the film. Lectures and screenings of excerpts from selected films will be used to explore the strategies and techniques used by editors to create connections between images. Students will be encouraged to apply the editing concepts learned in class in their own projects. Readings will include Karl Reisz, Serguei Eisenstein, V.I. Pudovkin, Andre Bazin, Roy Thompson, Alert Jurgenson, Gabriella Oldham, Joseph Robertson, Walter Murch, among others.

The aesthetics of editing -the choice of images, their timing and sequence- is at the center of film and video production. This course will focus on the analysis of structure and styles of editing of both fiction and non-fiction work. Major topics include rhythm, continuity editing, mise-en-scene, montage, cinematic time and space, among others. We will discuss the creative relationship between editor and director: how they interact to find the pace and structure of the film. Lectures and screenings of excerpts from selected films will be used to explore the strategies and techniques used by editors to create connections between images. Students will be encouraged to apply the editing concepts learned in class in their own projects. Readings will include Karl Reisz, Serguei Eisenstein, V.I. Pudovkin, Andre Bazin, Roy Thompson, Alert Jurgenson, Gabriella Oldham, Joseph Robertson, Walter Murch, among others.

The aesthetics of editing -the choice of images, their timing and sequence- is at the center of film and video production. This course will focus on the analysis of structure and styles of editing of both fiction and non-fiction work. Major topics include rhythm, continuity editing, mise-en-scene, montage, cinematic time and space, among others. We will discuss the creative relationship between editor and director: how they interact to find the pace and structure of the film. Lectures and screenings of excerpts from selected films will be used to explore the strategies and techniques used by editors to create connections between images. Students will be encouraged to apply the editing concepts learned in class in their own projects. Readings will include Karl Reisz, Serguei Eisenstein, V.I. Pudovkin, Andre Bazin, Roy Thompson, Alert Jurgenson, Gabriella Oldham, Joseph Robertson, Walter Murch, among others.

The aesthetics of editing -the choice of images, their timing and sequence- is at the center of film and video production. This course will focus on the analysis of structure and styles of editing of both fiction and non-fiction work. Major topics include rhythm, continuity editing, mise-en-scene, montage, cinematic time and space, among others. We will discuss the creative relationship between editor and director: how they interact to find the pace and structure of the film. Lectures and screenings of excerpts from selected films will be used to explore the strategies and techniques used by editors to create connections between images. Students will be encouraged to apply the editing concepts learned in class in their own projects. Readings will include Karl Reisz, Serguei Eisenstein, V.I. Pudovkin, Andre Bazin, Roy Thompson, Alert Jurgenson, Gabriella Oldham, Joseph Robertson, Walter Murch, among others.

The aesthetics of editing -the choice of images, their timing and sequence- is at the center of film and video production. This course will focus on the analysis of structure and styles of editing of both fiction and non-fiction work. Major topics include rhythm, continuity editing, mise-en-scene, montage, cinematic time and space, among others. We will discuss the creative relationship between editor and director: how they interact to find the pace and structure of the film. Lectures and screenings of excerpts from selected films will be used to explore the strategies and techniques used by editors to create connections between images. Students will be encouraged to apply the editing concepts learned in class in their own projects. Readings will include Karl Reisz, Serguei Eisenstein, V.I. Pudovkin, Andre Bazin, Roy Thompson, Alert Jurgenson, Gabriella Oldham, Joseph Robertson, Walter Murch, among others.