Wexman, Virginia Wright. “Kinesics and Film Acting: Humphrey
Bogart in The Maltese Falconand The Big Sleep.” Journal of
Popular Film and Television7, no. 1 (1978): 42–55.
———. “The Rhetoric of Cinematic Improvisation,” Cinema
Journal20, no. 1 (Fall 1980): 29–41.
Yacowar, Maurice. “Actors as Conventions in the Films of Robert
Altman.” Cinema Journal20, no. 1 (Fall 1980): 14–28.
Zucker, Carole. “The Concept of ‘Excess’ in Film Acting: Notes
toward an Understanding of Non-Naturalistic Performance.”
Post Script: Essays in Film and the Humanities11, no. 2 (Spring
1993): 20–26.
———. “An Interview with Lindsay Crouse,” Post Script: Essays in
Film and the Humanities12, no. 2 (Winter 1993): 5–28.
How Filmmaking Affects Acting
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Salvi, Delia. Friendly Enemies: Maximizing the Director-Actor
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Looking at Acting
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Chapter 8: Editing
What Is Editing?
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Dmytryk, Edward. On Film Editing: An Introduction to the Art of
Film Construction.Boston: Focal Press, 1984.
Fairservice, Don. Film Editing—History, Theory, and Practice:
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The Film Editor
Barsam, Richard. “Discover and Disclose: Helen van Dongen and
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Bordwell, David. The Cinema of Eisenstein. Cambridge, Mass.:
Harvard University Press, 1993.
Bouzereau, Laurent. The Cutting Room Floor. Secaucus, N.J.:
Carol, 1994.
Crofts, Stephen, and Olivia Rose. “An Essay towards Man with a
Movie Camera.” Screen18, no. 1 (Spring 1977): 9–58.
Jacobs, Lewis. “D. W. Griffith.” In The Rise of the American Film: A
Critical History.171–201. New York: Teachers College Press,
1968.
LoBrutto, Vincent. Selected Takes: Film Editors on Editing. New
York: Praeger, 1991.
Murch, Walter. In the Blink of an Eye: A Perspective on Film Editing.
2nd ed. Los Angeles: Silman-James, 2001.
———. “Restoring the Touch of Genius to a Classic [Touch of
Evil].” New York Times(September 6, 1998), sec. 2, pp. 1, 16–17.
Oldham, Gabriella. First Cut: Conversations with Film Editors.
Berkeley: University of California Press, 1992.
Ondaatje, Michael. The Conversations: Walter Murch and the Art of
Editing Film. New York: Knopf, 2002.
O’Steen, Sam. Cut to the Chase: Forty-five Years of Editing
America’s Favorite Movies. Studio City, Calif.: Wiese, 2001.
Petric ́, Vlada. Constructivism in Film: The Man with the Movie
Camera—a Cinematic Analysis. New York: Cambridge
University Press, 1987.
Prince, Stephen, and Wayne E. Hensley. “The Kuleshov Effect:
Recreating the Classic Experiment.” Cinema Journal31, no. 2
(Winter 1992): 59–75.
Rosenblum, Ralph, and Robert Karen. When the Shooting Stops... the
Cutting Begins: A Film Editor’s Story. New York: Penguin, 1980.
Schneider, Arthur. Jump Cut!: Memoirs of a Pioneer Television
Editor. Jefferson, N.C.: McFarland, 1997.
Tsivian, Yuri, Ekaterina Khokhlova, and Kristin Thompson. “The
Rediscovery of a Kuleshov Experiment: A Dossier.” Film
History8, no. 3 (1996): 357–367.
Turim, Maureen. Flashbacks in Film: Memory and History.New
York: Routledge, 1989.
Continuity Editing
Arijohn, Daniel. Grammar of the Film Language. New York: Focal
Press, 1976.
560 FURTHER READING