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| Acknowledgements | |
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| Introduction | |
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| Reading this Book | |
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| What Is Editing? | |
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| Toward a Definition of Editing as a Building Process | |
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| A Brief History of Motion Picture Editing | |
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| Intercutting | |
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| Montage | |
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| Film Editors | |
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| Music Videos | |
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| Theory and Schools of Editing | |
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| One-Shot Films | |
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| Tableau Structure | |
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| The Continuity System | |
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| Montage | |
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| German Expressionism | |
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| Documentary Filmmaking | |
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| The Language of Editing | |
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| ADR | |
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| Breaking Axis/Crossing The Line/360-Degree Rule | |
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| Composite Shot | |
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| Compression | |
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| Continuity | |
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| Coverage | |
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| Cutaway | |
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| Cut in/Cut Out | |
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| Dailies (Also Rushes) | |
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| Dialogue | |
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| Dissolve | |
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| Dubbing | |
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| Fade in/Fade out | |
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| First Cut | |
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| Flashback | |
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| Flashforward | |
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| Flash Cut (Also Shock Cut) | |
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| Freeze Frame | |
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| Insert | |
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| Intercutting (Also Crosscuttting) | |
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| Interscene Structure | |
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| Jump Cut | |
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| Match Cut | |
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| Montage | |
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| Narration | |
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| Nonlinear Editing | |
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| Nonlinear Storytelling | |
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| Off Screen | |
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| On Screen | |
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| Overlap | |
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| Over-the-Shoulder Shot | |
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| Parallel Storytelling (Also Crosscuttting) | |
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| Pick-Up Shot | |
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| Reaction Shots | |
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| Scene | |
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| Selected Takes | |
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| Sequence | |
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| Shock Cut | |
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| Shot/Reverse Shot | |
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| Shot Size | |
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| Split Screen | |
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| Synchronization | |
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| Take | |
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| Take Ratio | |
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| Text | |
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| Titles | |
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| Trim | |
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| Transitions (Formerly Called Opticals) | |
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| Two-Screen Editing | |
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| Vertigo Shot | |
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| Wipe | |
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| X | |
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| "Your Back is to the Camera" | |
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| Zoom Shot | |
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| The Editing Process | |
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| Dailies | |
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| Picking Selected Takes with the Director | |
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| First Cut | |
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| Director's Cut | |
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| New Opportunities for the Director's Cut | |
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| Editing Methods | |
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| Employing Multiple Cameras in Photographing a Movie | |
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| Matching | |
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| The Editing Crew, or the Magic Box and the Revolving Hat | |
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| The Hierarchy of the Crew | |
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| The Magic Box | |
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| After Picture Lock | |
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| Sound Editing | |
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| Automated Dialogue Replacement (Adr) | |
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| Representational and Nonrepresentational Sound | |
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| Sound Editors on Sound Editing | |
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| The Art of Film Editing | |
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| Rhythm | |
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| Pacing | |
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| Time and Space | |
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| Sequencing | |
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| Visual Storytelling | |
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| Performance | |
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| Zen in the Art of Motion Picture Editing | |
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| The in and Out Point | |
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| The Most Difficult Decision | |
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| Great Editors & Editing Relationships | |
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| Elevating the Editor | |
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| William Hornbeck | |
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| It's a Wonderful Life | |
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| A Place in the Sun | |
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| Dede Allen | |
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| Relationships With Directors | |
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| Editorial Achievements | |
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| Legacy | |
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| Director/Editor Long-Term Relationships | |
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| Director Ron Howard & Editors Dan Hanley & Mike Hill | |
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| Director Martin Scorsese & Editor Thelma Schoonmaker | |
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| Director Steven Spielberg & Editor Michael Kahn | |
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| Landmark Films in the Art of Motion Picture Editing | |
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| Breathless | |
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| The French Connection | |
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| Jacob's Ladder | |
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| Koyaanisqatsi | |
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| Powaqqatsi | |
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| Naqoyqatsi | |
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| Man With a Movie Camera | |
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| The Wild Bunch | |
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| MR. Arkadin Aka Confidential Report | |
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| Apocalypse Now | |
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| On the Waterfront | |
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| Easy Rider | |
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| King Kong | |
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| Psycho | |
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| Vertigo | |
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| Annie Hall | |
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| Shot by Shot | |
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| 2001: A SPACE ODYSSEY | |
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| "The Big Chill" Sequence | |
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| "The News on the March" Sequence | |
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| "Alex is Attacked by the Shark" Sequence | |
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| "Johnny Rocco Addresses his Hostages" Sequence | |
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| "The Ditch-Digging" Sequence | |
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| The "Hot Lunch" Sequence | |
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| In the End, Editing Is Editing Is Editing | |
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| The Postproduction Set-Up | |
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| Monitors | |
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| Solutions | |
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| Sound | |
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| Significant Films for Further Study | |
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| Glossary | |
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| Bibliography | |
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| Index | |