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Alain Resnais would be an interesting subject for alternative forms of editing. James Monaco's book on Alain Resnais is helpful there, especially the chapter on Je t'aime, Je t'aime. In connection with Resnais many texts refert to a difference between mise-en-scène and découpage. The (early) films of Resnais have a very skillfully laid down découpage (not storyboards). The editing begins with the screenplay, for example the fragmented story telling in Muriel, a very interesting example of discontinuity editing which corresonds with the characters' disorientation, or in Je t'aime, Je t'aime, in which a failed time travel deconstructs the chronology of the narration. In Resnais cinema, alternative editing is always for the purpose of the story, not for the disruption of cinematic representation. Herbert * * Film-Philosophy salon After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html For help email: [log in to unmask], not the salon. * Film-Philosophy online: http://www.film-philosophy.com Contact: [log in to unmask] **