The recently published collection, "Puzzle Films: Complex Storytelling in
Contemporary Cinema," edited by Warren Buckland, published by
Wiley-Blackwell, would be a useful place to check. My essay in the
collection, "The Pragmatic Poetics of Hong Sangsoo's 'The Day a Pig Fell
into a Well'," examines how Hong purposefully ignores the conventions of
continuity editing in constructing the film's narrative. Hong's second film,
"The Power of Kangwon Province," in which he never crosscuts 60 shots filmed
with all the cues that would allow them to be crosscut perfectly into a
single chronological continuity, as well as his third film, "The Bride
Stripped Bare by her Bachelors," where editing deceptively makes a single
chronological series of events seem to consist of the alternate
possibilities remembered from different points of view, may also serve your
needs.
Quoting Catalin Brylla <[log in to unmask]>:
> Hi,
>
>
>
> I have been teaching a course on editing theory, in which I cover the
> following aspects: continuity editing, montage editing, manipulating
> time and space (e.g. American montage, flashbacks/flashforwards), POV,
> narrative referencing (e.g. motifs) and character identification (e.g.
> subjective POV).
>
>
>
> I consider the above as "mainstream" approaches to editing, and I
> mostly cover (Western) European and US films as case studies.
>
>
>
> However, I am planning a new course on "alternative modes of editing",
> ie editing in African/Asian/Latin American films (not necessarily
> national cinema, but alternative editing modes). I find it very hard
> to pinpoint specific styles and find common denominators re
> alternative editing styles, but maybe that is because alternative
> directors, such as Kiarostami, Ozu, Sissako, Tarkovski need different
> stylistic approaches than the ones coined by Western editing theories.
> Maybe concepts like space, time, memory, identity etc are more
> appropriate, but I need to do more research on that. In any case,
> however conceptual or different the focus, I need to relate it to the
> editing, as the course targets filmmakers, editors and film students.
>
>
>
> Does anyone have any advice where I can start? Any sources on
> alternative modes of editing?
>
>
>
> Thanks,
>
>
>
> Catalin
>
>
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