Short description:

Filled with timeless principles and thought-provoking examples from a variety of international films, the third edition of Karen Pearlman?s 'Cutting Rhythms' offers an in-depth study of the film editor?s rhythmic creativity and expertise, the processes and tools editors use to shape rhythms, and how rhythm works to engage audiences in film.

Long description:

There are many books on the technical aspects of film and video editing. Much rarer are books on how editors think and make creative decisions. Filled with timeless principles and thought-provoking examples from a variety of international films, the third edition of Karen Pearlman?s Cutting Rhythms offers an in-depth study of the film editor?s rhythmic creativity and expertise, the processes and tools editors use to shape rhythms, and how rhythm works to engage audiences in film. Cutting Rhythms is written for editors, filmmakers, and students who are learning their craft, and more experienced practitioners who enjoy engaging with ideas about creative process.

This fully revised and updated edition contains:

• A comprehensive definition of what rhythm in film editing is made from, how it is shaped, and what it is for


• Updated discussions about editors' creative expertise and how to develop it


• Tips on how to create and sustain audience empathy and engagement


• Insights into style and creative collaboration


• Advice on making onscreen drafts before finalizing your story


• New, international examples of fiction, documentary, streaming series, music video & more

?Cutting Rhythms illuminates the things that expert editors know and practice but rarely put into words.?

-Margaret Sixel, Academy Award-winning editor of Mad Max: Fury Road

?For years, many experts have claimed that 'Good editing is invisible.' Karen Pearlman puts this fallacy to rest with a brilliant examination of the art of film editing from the inside out.  Required reading for Editing Fellows at the American Film Institute Conservatory, this book reveals new insights on every pass.  I consider it an essential text for anyone curious about how editors do what they do.?

-Robert Ivison, ACE, Head of Editing Discipline, American Film Institute Conservatory 

?Karen Pearlman?s work, which advocates for the centrality of editors and editing in the filmmaking process, is an invaluable resource for the film industry, students, and film scholars.?

 -Su Friedrich, filmmaker and creator of the website "Edited By?Women Film Editors"

?Karen Pearlman's profound understanding of movement, energy, trajectory phrasing, and even dance offers editors actionable tools to engage audiences on a deeper level. Her teachings will forever change how you approach storytelling.? 

-Sven Pape, ACE-nominated film editor and creator of ?This Guy Edits"

Table of Contents:

Introduction 1. From Intuition to Expertise 2. Watching, Sorting, Remembering, Selecting, and Composing 3. Editor as Choreographer ? Time, Energy, and Movement 4. Timing, Pacing, and Trajectory Phrasing 5. Tension, Release, and Synchronization 6.  Good Editing is Not Invisible 7. Physical Rhythm 8. Emotional Rhythm 9.  Event Rhythm 10. Style 11. Collaboration and the Vulcan Mind Meld 12. Editing Thinking and Onscreen Drafting