Editing and Special/Visual Effects brings together a diverse range of film scholars who trace how the arts of editing and effects have evolved in tandem.

Be sure to pick up Delectant Film/Art Critic, Meraj Dhir’s new book, Editing and Special/Visual Effects. It’s currently available for pre-order from Rutgers University Press on Amazon. Edited by two superstars in the field, Professor Charlie Keil and Kristen Whissel, the book offers field changing essays by the likes of Scott Higgins, Dana Polan as well as Mr. Dhir. His chapter examines contemporary Hollywood editing from 2000 to now, incorporates research and interviews with David Fincher, Angus Wall, Kirk Baxter and features several visual examples.

“I spent just over a year of my life  developing my chapter, closely watched over 250 films,” said Mr. Dhr “I also run a comprehensive account of how editing is used in different film genres from the musical to horror to the adult action thriller and offer a causal account of how integral editing is to the overall stylistic profile of a film – Editors are auteurs.”

Most moviegoers think of editing and special effects as distinct components of the filmmaking process. We might even conceive of them as polar opposites, since effective film editing is often subtle and almost invisible, whereas special effects frequently call attention to themselves. Yet, film editors and visual effects artists have worked hand-in-hand from the dawn of cinema to the present day.

Editing and Special/Visual Effects brings together a diverse range of film scholars who trace how the arts of editing and effects have evolved in tandem. Collectively, the contributors demonstrate how these two crafts have been integral to cinematic history, starting with the “trick films” of the early silent era, which astounded audiences by splicing in or editing out key frames, all the way up to cutting-edge effects technologies and concealed edits used to create the illusions. Throughout, readers learn about a variety of filmmaking techniques, from classic Hollywood’s rear projection and matte shots to the fast cuts and wall-to-wall CGI of the contemporary blockbuster.

In addition to providing a rich historical overview, Editing and Special/Visual Effects supplies multiple perspectives on these twinned crafts, introducing readers to the analog and digital tools used in each craft, showing the impact of changes in the film industry, and giving the reader a new appreciation for the processes of artistic collaboration they involve.


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