This new collection of twelve interviews with award-winning film editorsfiction and documentarydiscusses the art and craft of editing and explores the transition from the age of celluloid to the digital age.

A Bustle Most Anticipated Book of January 2020 “Scalpel sharp.”—Kathy Reichs A young rookie medical examiner. A suspicious case. An underworld plot only she saw coming. From the New York Times bestselling authors of Working Stiff For San Francisco’s newest medical examiner, Dr. Jessie Teska, it was supposed to be a fresh start. A new job in a new city. A way to escape her own dark past. Instead she faces a chilling discovery when an opioid-overdose case contains hints of something more sinister. Jessie’s superiors urge her to close the case, but as more bodies land on her autopsy table, she uncovers a constellation of deaths that point to an elaborate plot involving drug dealers and Bitcoin brokers. Drawing on her real-life experiences as a forensics expert, Judy Melinek teams up with husband T.J. Mitchell to deliver the most exhilarating mystery of the year. Autopsy means “see for yourself,” and Jessie Teska won’t stop until she has seen it all—even if it means that the next corpse on the table could be her own.

In her debut children's book, "Liam's First Cut, Taye Glover weaves together the beauty of fatherhood, community, and neurodivergence as Liam, a black boy with an autism spectrum disorder, approaches a day he's been anticipating, for quite some time. Liam takes us on a journey towards a big rite of passage in every boy's life as he prepares to get his hair cut on his first visit to a barbershop.

First Cut offers an opportunity to learn what film editing really is, and to learn from the source. Gabriella Oldham's interviews with twenty-three award-winning film editors give a full picture of the complex art and craft of editing a film. Filled with animated anecdotes and detailed examples, and updated with a new preface, this book provides a comprehensive treatment of both documentary and feature film editing.

With humor, compassion, and wisdom, Howard Carter recounts the semester he spent watching first-year medical students in a human anatomy lab. From the tentative early incisions of the back, the symbolic weight of extracting the heart, and by the end, the curious mappings of the brain, we embark on a path that is at once frightening, awesome, and finally redemptive.

This is the second volume of the widely acclaimed Art of the Cut book published in 2017. This follow-up text expands on its predecessor with wisdom from more than 360 interviews with the world’s best editors (including nearly every Oscar winner from the last 30 years). Because editing is a highly subjective art form, and one that is critical to the success of motion picture storytelling, it requires side-by-side comparisons of the many techniques and solutions used by a wide range of editors from around the world. That is why this book compares and contrasts methodologies from a wide array of diverse voices and organizes that information so that it is easily digested and understood. There is no one way to approach editorial problems, so this book allows readers to see multiple solutions from multiple editors. The interviews contained within are carefully curated into topics that are most important to film editors and those who aspire to become film editors. The questions asked, and the organization of the book, are not merely an academic or theoretical view of the art of editing but rather the practical advice and methodologies of actual working film and TV editors, bringing benefits to both students and professional readers. The book is supplemented by a collection of downloadable online exclusive chapters, which cover additional topics ranging from Choosing the Project to VFX. In addition to the supplementary chapters, access to the full-color, full-resolution images printed in the book—and other exclusive images—is included.

Both sixteen-year-old Chloe Montgomery and her long time rival, Nina, have made it through the first round of the California Teen Design Diva audition--but more rounds lie ahead and each round promises to be more challenging than the one before.

Roger Crittenden reveals the experiences of many of the greatest living European film editors through his warm and perceptive interviews which offer a unique insight into the art of editing - direct from masters of the craft. In their interviews the editors relate their experience to the directors they have worked with, including: Agnes Guillemot- (Godard, Truffaut, Catherine Breillat) Roberto Perpignani- (Welles, Bertolucci, Tavianni Brothers) Sylvia Ingemarsson- (Ingmar Bergman) Michal Leszczylowski- (Andrei Tarkovsky, Lukas Moodysson) Tony Lawson (Nic Roeg, Stanley Kubrick, Neil Jordan) and many more. Foreword by Walter Murch - three-time Oscar-winning Editor of 'Apocalypse Now', 'The English Patient', 'American Graffiti', 'The Conversation' and 'The Godfather Part II and III'.

Interviews with 21 prominent feature film editors highlight this long-overdue look at the role of film editors, the importance of their work, and the nature of their craft. Organized to provide historical continuity and to trace professional collaborations among the subjects, Selected Takes features editors whose credits include such diverse films as Ben Hur, The French Connection, The Godfather, and E.T. Each chapter includes a brief introduction to the artist, background information, a filmography of feature-length works, and personal recollections of specific films, producers, and directors, as well as helpful comments on editing techniques. A glossary of terms commonly used in film editing and pertinent references found in the interviews complement the work. Film students, scholars, and educators, as well as film industry professionals and moviegoers, will find Selected Takes both entertaining and instructive.

An astonishing novel about pain, release, and recovery from two-time National Book Award finalist, Patricia McCormick. A tingle arced across my scalp. The floor tipped up at me and my body spiraled away. Then I was on the ceiling looking down, waiting to see what would happen next. Callie cuts herself. Never too deep, never enough to die. But enough to feel the pain. Enough to feel the scream inside. Now she's at Sea Pines, a "residential treatment facility" filled with girls struggling with problems of their own. Callie doesn't want to have anything to do with them. She doesn't want to have anything to do with anyone. She won't even speak. But Callie can only stay silent for so long...