Film School: The Editors Who Changed American Cinema

Bonnie and Clyde (1967) Bonnie and Clyde (1967)

“Countless male directors… owe their success, in part, to a brilliant female editor.”

… says Jack Nugent of Now You See It, in his look at game-changing work of editors such as Dede Allen (Bonnie & Clyde, Dog Day Afternoon), (all of Scorsese‘s films since Raging Bull) and (all of Tarantino‘s movies up to Inglorious Basterds in 2009):

In a separate video, Jack examines the significance of Dede Allen’s editing in Bonnie & Clyde (1967):

Editor Vashi Nedomansky, ACE runs through a Hollywood editors Hall of Fame:

“We Should Not Call It ‘The Kuleshov Effect”

“In early cinema, most editors were women. Why would you name something lots of women editors were doing after one man who observed them doing it?” Dr Karen Pearlman asks in Cutting Rhythms – Intuitive Film Editing. In her discussion with This Guy Edits, Dr Pearlman asserts that naming it solely after Kuleshov “erases the work of a whole lot of editors, many of whom were women“:

Here’s Patton Oswalt putting it… well, another way:

Further Viewing

Thelma Schoonmaker speaks on her craft, and her longtime working relationship with Martin Scorsese:

That analysis of Bonnie & Clyde also figures in our roundup of videos discussing the French New Wave:

J-cut, L-cut

Also: Dede Allen was (un-)credited with inventing the L-Cut and J-Cut, which has since become foundational in film and video editing. Here’s a demonstration of what it is and how to do it, via This Guy Edits (more detail on this and other fundamental editing tips here):

Spielberg and Jaws editor Verna Fields (via Eyes On Cinema):

Where are the Women Directors?

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