FURTHER READING 561Bordwell, David. The Way Hollywood Tells It: Story and Style in
Modern Movies. Berkeley: University of California Press, 2006.
Gaudreault, André. “Detours in Film Narrative: The Development
of Cross-Cutting.” Cinema Journal19, no. 1 (Fall 1979): 39–59.
Kepley, Vance, Jr. “Spatial Articulation in the Classical Cinema: A
Scene from His Girl Friday.” Wide Angle5, no. 3 (1983): 50–58.
Jesionowski, Joyce E. Thinking in Pictures: Dramatic Structure in
D. W. Griffith’s Biograph Films. Berkeley: University of
California Press, 1987.
Reisz, Karel, and Gavin Millar. The Technique of Film Editing.New
York: Hastings House, 1973.
Salt, Barry. Film Style and Technology: History and Analysis. 2nd ed.
London: Starwood, 1992.
Simon, William. “An Approach to Point of View.” Film Reader 4
(1979): 145–151.
Alternatives to Continuity Editing
Bordwell, David. The Cinema of Eisenstein. Cambridge, Mass.:
Harvard University Press, 1993.
Curtis, David. Experimental Cinema. New York: Universe, 1971.
Eisenstein, Sergei. Film Essays and a Lecture.Ed. Jay Leyda. New
York: Praeger, 1970.
———. Film Form: Essays in Film Theory[and] Film Sense. Ed. and
trans. Jay Leyda. New York: Meridian, 1957.
Mekas, Jonas. “An Interview with Peter Kubelka.” Film Culture 44
(Spring 1967): 42–47.
Vertov, Dziga. Kino-Eye: The Writings of Dziga Vertov. Ed. Annette
Michelson. Trans. Kevin O’Brien. Berkeley: University of
California Press, 1984.
Editing Technology and Techniques
Balmuth, Bernard. Introduction to Film Editing. Boston: Focal
Press, 1989.
Bayes, Steve. The Avid Handbook. Boston: Focal Press, 1998.
Bordwell, David, Janet Staiger, and Kristin Thompson. The
Classical Hollywood Cinema: Film Style and Mode of Production
to 1960.New York: Columbia University Press, 1985.
Browne, Steven E. Nonlinear Editing Basics: Electronic Film and
Video Editing. Boston: Focal Press, 1998.
Case, Dominic. Film Technology in Post Production. 2nd ed. Boston:
Focal Press, 2001.
Chandler, Gael. Cut by Cut: Editing Your Film or Video. Studio City,
Calif.: Wiese, 2004.
Crittenden, Roger. The Thames and Hudson Manual of Film Editing.
New York: Thames & Hudson, 1981.
Dancyger, Ken. The Technique of Film and Video Editing: Theory and
Practice. 4th ed. Boston: Focal Press, 2007.
Hollyn, Norman. The Film Editing Room Handbook: How to Avoid
the Near-Chaos of the Cutting Room.3rd ed. Los Angeles: Lone
Eagle, 1999.
Kauffmann, Sam. Avid Editing: A Guide for Beginning and
Intermediate Users. 4th ed. Boston: Focal Press, 2009.
Kerner, Marvin M. The Art of the Sound Effects Editor. Boston:
Focal Press, 1989.
Lustig, Milton. Music Editing for Motion Pictures. New York:
Hastings House, 1980.
McGrath, Declan. Editing and Post-Production. Boston: Focal
Press, 2001.
Miller, Pat P. Script Supervising and Film Continuity. 3rd ed.
Boston: Focal Press, 1999.
Ohanian, Thomas A. Digital Nonlinear Editing: Editing Film and
Video on the Desktop. 2nd ed. Boston: Focal Press, 1998.
Rubin, Michael. Nonlinear: A Guide to Electronic Film and Video
Editing. 2nd ed. Gainesville, Fla.: Triad, 1992.
Salt, Barry. Film Style and Technology: History and Analysis. 2nd ed.
London: Starword, 1992.
Stafford, Roy. Nonlinear Editing and Visual Literacy. London: BFI,
1995.
Staten, Greg, and Steve Bayes. The Avid Handbook: Advanced
Techniques, Strategies, and Survival Information for Avid
Editing Systems. 5th ed. Boston: Focal Press, 2009.
Thompson, Roy. Grammar of the Edit. Boston: Focal Press, 1993.
Walter, Ernest. The Technique of the Film Cutting Room. 2nd rev. ed.
London: Focal Press, 1973.
Weynand, Diana. Final Cut Pro for Avid Editors. 3rd ed. Berkeley:
Peachpit, 2008.Chapter 9: Sound
What Is Sound?
Altman, Rick, ed. Sound Theory/Sound Practice. New York:
Routledge, 1992.
Bordwell, David, Janet Staiger, and Kristin Thompson. The
Classical Hollywood Cinema: Film Style and Mode of Production
to 1960.New York: Columbia University Press, 1985.
Brophy, Philip. 100 Modern Soundtracks. BFI Screen Guides.
London: BFI, 2004.
Chion, Michel. Audio-Vision: Sound on Screen. Ed. and trans. Claudia
Gorbman. New York: Columbia University Press, 1994.
Eisenstein, Sergei. Film Essays and a Lecture.Ed. Jay Leyda. New
York: Praeger, 1970.
———. Film Form: Essays in Film Theory[and] Film Sense. Ed. and
trans. Jay Leyda. New York: Meridian, 1957.
Eyman, Scott. The Speed of Sound: Hollywood and the Talkie
Revolution, 1926–1930. New York: Simon & Schuster, 1997.
Geduld, Harry M. The Birth of the Talkies: From Edison to Jolson.
Bloomington: Indiana University Press, 1975.
Gorbman, Claudia. “Annotated Bibliography on Film Sound
(Excluding Music).” In Film Sound: Theory and Practice.
427–445. Ed. Elisabeth Weis and John Belton. New York:
Columbia University Press, 1985.
———. Unheard Melodies: Narrative Film Music. Bloomington:
Indiana University Press, 1987.
Holman, Tomlinson. Sound for Film and Television.2nd ed. Boston:
Focal Press, 2002.
Ivarsson, Jan, and Mary Carroll. Subtitling. Sim rishamn, Sweden:
TransEdit, 1998.
Neale, Steve. Cinema and Technology: Image, Sound, Colour.
Bloomington: Indiana University Press, 1985.
Sider, Larry, Diane Freeman, and Jerry Sider, eds. Soundscape: The
School of Sound Lectures, 1998–2001. London: Wallflower, 2003.
Weis, Elisabeth, and John Belton, eds. Film Sound: Theory and
Practice. New York: Columbia University Press, 1985.Sound Production
Design
Lastra, James. Sound Technology in the American Cinema:
Perception, Representation, Modernity. New York: Columbia
University Press, 2000.