Linked from

The 118 pages that link to Film editing, each with the reason it gives.

• Steven SoderberghRelated: Soderbergh often edits his own films, shaping their pace and structure directly.

• Archival footageRelated: Editing can change the meaning of archival shots by changing their order and context.

• Oliver StoneRelated: Stone’s rapid cuts and layered archival material give several films their restless, argumentative rhythm.

• Television directingRelated: A director’s choices on set affect the options available in the edit.

• Bob FosseRelated: Fosse used editing and camera movement to translate choreographic rhythms to film.

• George MillerRelated: Rapid but spatially clear editing drives the pursuit sequences in Fury Road.

• Jurassic ParkRelated: Careful withholding and timing build suspense before many dinosaurs appear.

• MotherRelated: The film’s controlled disclosures depend on when evidence and reactions are shown.

• Ritwik GhatakRelated: His sharp cuts and collisions of images make rupture part of the film’s form.

• Robert BressonRelated: Bresson’s precise cuts make partial actions and offscreen events carry dramatic weight.

• The Blue AngelRelated: Editing links Rath’s changing public role to the repeated cabaret performances.

• The French ConnectionRelated: The chase’s shifting viewpoints and crosscutting sustain urgency.

• The Magnificent AmbersonsRelated: Studio re-editing radically altered the film’s structure and removed much of Welles’s intended ending.

• Thelma SchoonmakerNarrower topic: Schoonmaker’s work exemplifies how editing can shape a film’s rhythm and meaning.

• Beijing Film AcademyRelated: Editing is one of the production crafts taught alongside directing and cinematography.

• Dorothy ArznerNarrower topic: Her experience as an editor gave her a detailed understanding of how scenes were constructed.

• Erotic filmRelated: Cutting can build anticipation, conceal acts, or leave sexual encounters to the imagination.

• Film reviewRelated: Pacing, transitions, and structure are frequent subjects of evaluation.

• Live-action filmRelated: Editing turns separately recorded moments into a film's pace and continuity.

• Park Chan-wookRelated: His transitions and rhythmic cuts often turn revelations into visual surprises.

• Split screenRelated: Editors coordinate split-screen panels with cuts, pacing, and sound.

• VGIKRelated: Editing connects VGIK’s practical instruction to its influential montage traditions.

• Edwin S. PorterNarrower topic: Porter’s films helped demonstrate that cuts could organize action across multiple views.

• Hal RoachRelated: Editing shaped the precise timing of the studio’s visual comic sequences.

• Jane CampionRelated: Editing shapes the deliberate pacing and shifts in viewpoint of her films.

• La La LandRelated: Long takes and fluid transitions preserve the momentum of several song-and-dance sequences.

• Robert WiseNarrower topic: Wise began as an editor, and his sense of rhythm and continuity carried into his directing.

• Triumph of the WillRelated: Montage links Hitler’s arrival, speeches, and crowds into a narrative of acclamation.

• Clarence BrownRelated: Brown entered filmmaking through work that included editing and other technical roles.

• Ishmael BernalRelated: Editing shapes the multiple intersecting stories in Bernal’s urban ensemble films.

• King HuRelated: His rapid cuts and pauses turn swordplay into patterned movement.

• King VidorNarrower topic: Editing shaped the transitions between intimate character moments and large social tableaux in Vidor's films.

• Raging BullRelated: The editing shifts between fights, domestic episodes, and later-life performance.

• Robert RodriguezRelated: Rodriguez’s hands-on filmmaking includes editing, helping him retain control over production.

• Short filmRelated: Editing controls pace and removes material that would overextend a short film.

• Silent film actingRelated: Editing directed attention and shaped how a physical performance was read.

• Walter MurchNarrower topic: Murch’s editing practice is a distinctive approach to this broader craft.

• Women film directorsRelated: Directorial choices continue in editing, where performances and narrative rhythms take final form.

• A Beautiful Mind (2001 film)Related: The film’s editing controls when viewers recognize that some characters are imagined.

• Alfonso CuarónRelated: Cuarón often edits his own work, shaping rhythm and perspective in the cutting room.

• Claude LanzmannRelated: Lanzmann transformed hours of interviews and location footage through extensive selection and juxtaposition.

• Hrishikesh MukherjeeNarrower topic: Mukherjee began his career as an editor, a craft that informed his economical storytelling.

• Josef von SternbergRelated: His visual control extended beyond individual images to pacing and juxtaposition.

• Mabel NormandRelated: Rapid cutting helped turn chases and escalating mishaps into coherent comic sequences.

• Stan LaurelRelated: Laurel closely supervised editing to refine the timing and structure of his films.

• Sydney PollackRelated: Editing helps create the controlled pacing and clarity characteristic of Pollack’s studio filmmaking.

• The Shawshank RedemptionRelated: Pacing and transitions carry the story across years of imprisonment.

• David FincherNarrower topic: The exact pacing of his films depends on editorial decisions as much as camera movement.

• FilmmakingRelated: Editing constructs the film’s rhythm, continuity, and point of view from recorded material.

• John BoormanRelated: Rhythmic cutting helps Boorman move between physical action, psychological tension, and symbolic imagery.