PREFACE TO THE SECOND EDITION PREFACE TO THE FIRST EDITION ACKNOWLEDGMENTS INTRODUCTION CHAPTER 1 Rhythmic Intuition Intuitive Thinking Movement and Intuition Rhythm is Made of Movement Noticing Movement as Rhythm Feeling Movement’s Rhythmic Potential Empathy with Movement: Experience, Body and Brain Being Rhythm & Thinking Rhythmically CHAPTER 2 Editing as Choreography Shifting the Discussion from Music to Pulse Movement Phrases Why Bother with Phrasing? Phrasing Considerations CHAPTER 3 Timing, Pacing, and Trajectory Phrasing Timing Pacing Trajectory Phrasing CHAPTER 4 Tension, Release, and Synchronization Tension and Release Synchronization Case Study in Tension, Release, and Synchronization: Broadcast News CHAPTER 5 Physical, Emotional, and Event Rhythms Three Kinds of Movement Good Editing is Not Invisible CHAPTER 6 Physical Rhythm Re-choreographing Physical Storytelling Dancing Edits Singing the Rhythm Case Study: "Now" Scene from Thursday’s Fictions CHAPTER 7 Emotional Rhythm Prepare, Action, Rest The Actor’s Actions Beats Case Study: The Hours CHAPTER 8 Event Rhythm First Scenes Dramatic Questions Structures as Event Patterns Energy, Pace and Timing Creating Structure and Rhythm Simultaneously Real Events v. Fictional Events Reintegrating Rhythms Case Study: The Godfather Case Study: Goodfellas CHAPTER 9 Style Thematic Montage Continuity Cutting Points along the Spectrum from Thematic Montage to Continuity Cutting Collision Linkage Points along the Spectrum from Collision to Linkage Style Case Studies Contemporary Style: After the New Wave CHAPTER 10 Devices Parallel Action Parallel Action Case Studies Slow Motion Slow Motion Case Studies Fast Motion Two Quick Fast Motion Case Studies CHAPTER 11 Editing & The Vulcan Mind Meld The Mind Meld Decision Making Responsive Creativity Power and Hierarchy CHAPTER 12 Editing Thinking & Onscreen Drafting Editing Thinking What is an Onscreen Draft Why Draft Rapid Prototyping Embodied Decision Making
