Editing (Bachelor’s Degree in Filmmaking)

Learning outcomes Thematic blocks Methodology and training activities Accredited assessment of learning Sources of basic information Back to the Bachelor
Program details
Subject: Editing
Code: 366986
Credits: 6
On-site activities: 50 hours
Directed work: 50 hours
Self-employed work: 50 hours

Learning outcomes

Evaluate the use of editing as a narrative and expressive element in filmmaking.

Thematic blocks

  1. Definition of editing and “screenwriting-direction-editing” criteria.
  2. The spectator, emotion and genres.
  3. Intelligence codes of the classical structure. Screenwriting foundations. The structure of the classical sequence applied to short and feature films. Origin of the classical sequence.
  4. The classical editing. Laws of classical continuity. Invisible montage: narration-emotion, movement and sound with a soundtrack.
  5. The law of the axis, scale and 30-degree racor.
  6. The empathic function of the progress of language aimed at the identification of the spectator with the story.
  7. History of editing: the four main waves of creativity throughout the history of cinema.
  8. Psychology of editing. Mechanisms of montage and perception of reality: identification of language and perception, deception of the senses, desire and fantasy in language.
  9. Complementary audiovisual counterpoint as one of the most ambitious forms of creative work.
  10. Notes on neuro-cinematics applied to the classical grammar of editing and options for the future.
  11. Types of editing: dialogue, action, thriller, horror, fantastic, comedy, dance and videodance, sex, trailers, video clips, newsreels, documentaries, reports, hybrids, mash-up, experimental.
  12. Some editing styles: Sergei Eisenstein, Orson Welles, Stanley Kubrick, Luis Buñuel, Andrei Tarkovsky.
  13. Analysis of sequences.
  14. Editing as writing. Emotion as the main horizon.
  15. Assistant editing.
  16. Study of time in cinema: the importance of not cutting.
  17. The point of view.
  18. Relationship between the editor and other film professions.

Methodology and training activities

Training activities:

  1. Face-to-face theory classes
  2. Tutored work
  3. Independent work

Teaching methodologies:

  1. Lectures: presentation of the contents of the subject by the teaching staff.
  2. Active research of information in written or filmic texts by the student for the acquisition of knowledge directly, but also for the acquisition of skills and attitudes related to obtaining information.
  3. Students carry out written and/or audiovisual research work.

Accredited assessment of learning

Research work

Sources of basic information

ARNHEIM, Rudolf. “El cine como arte”. Paidós Ibérica. Barcelona, 1986.   

ATIENZA, Pau. “Historia y evolución del montaje audiovisual. De la moviola al youtube”. Editorial UOC. Barcelona, 2013.   

BÁLAZS, Béla. “El film, evolución y esencia de un arte nuevo”. Gustavo Gili. Barcelona, 1978.   

BALLÓ, Jordi y PÉREZ, Xavier. “La semilla inmortal. Editorial Anagrama. Barcelona, 1997.    

BAZIN, André. “¿Qué es el cine?”. Libros de Cine Rialp. Madrid, 1990.   

CHION, Michel. “La audiovisión”. Paidós Ibérica. 1993.    

CRITTENDEN, Roger. The Thames and Hudson Manual of Film Editing”. Thames and Hudson. Londres, 1981.   

CRITTENDEN, Roger. “Fine Cuts. The Art of European Film Editing”. Focal Press. London, 2006.   

DMYTRYK, Edward. “On film editing”. Focal Press. Londres. 1984.   

EISENSTEIN, Sergei. “Cinematismo”. Domingo Cortizo Editor. Buenos Aires, 1982   

EISENSTEIN, Sergei. “Teoría y técnica cinematográficas”. Rialp. Madrid, 1989.   

JURGENSON, Albert. “Pratique du montage. FEMIS, París, 1990.     

KULESHOV, Lev. “Tratado de la realización cinematográfica. Editorial Futuro. Buenos Aires, 1955.   

MARIMÓN, Joan. “El muntatge cinematogràfic. Del guió a la pantalla”. Ub-ESCAC. Barcelona, 2015.   

MC GRATH, Declan. “Montaje & Postproducción”. Océano. Barcelona, 2001.   

MITRY, Jean. “Estética y psicología del cine”. Siglo XXI Editores. Madrid, 1978. (+ Jean Pierre Chartier. “Art et realité au cinema”, La revue du cinema. Journeaux-Collection. 1947)   

MORALES MORANTE, Fernando. “Montaje audiovisual. Teoría, técnica y métodos de control”. Editorial UOC. Barcelona, 2013.   

MURCH, Walter. “En el momento del parpadeo. Un punto de vista sobre el montaje cinematográfico”. Ocho y Medio. Madrid, 2003.   

MURCH, Walter y ONDATJEE, Michael. “El arte del montaje”. Plot Ediciones. Madrid, 2007.   

PUDOVKIN, Vsevolod. “Argumento y montaje: bases de un film”. Editorial Futuro. Buenos Aires, 1956.    

RAMOS, Jesús. MARIMÓN, Joan. “Diccionario incompleto del guión audiovisual”. Océano. Barcelona, 2003.   

REISZ, Karel. “Técnica del montaje cinematográfico”. Taurus Ediciones. Madrid, 1986.   

REY, Pedro del. “Montaje. Una profesión de cine”. Ariel Cine. Barcelona, 2002.   

SÁNCHEZ, Rafael C. “Montaje cinematográfico. Arte de movimiento”. Centro Universitario de Estudios Cinematográficos. Editorial Pomaire. Santiago de Chile, 1957.   

SÁNCHEZ BIOSCA, Vicente. “Teoría del montaje cinematográfico”. Ediciones Textos Filmoteca Generalitat Valenciana. Valencia, 1991.   

SANGRO COLÓN, Pedro. “Teoría del montaje cinematográfico: textos y textualidad”. Publicaciones Universidad Pontificia de Salamanca. Salamanca, 2000.   

TARKOVSKY, Andrei. “Esculpir en el tiempo”. Ediciones Rialp. Madrid, 1991.   

TRUFFAUT, François. “El cine según Hitchcock”. Alianza. Madrid, 1974.   

VILLAIN, Dominique. “El montaje”. Cátedra. Madrid, 1994.  

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