My interest in writing this book began when I was finishing the practical course work for my M.A. in Editing at the Australian Film Television and Radio School (AFTRS). I was approached by the head of the editing department, Bill Russo, ASE, about the possibility of researching editing history and theory for the purposes of teaching incoming students. From that discussion, the idea was to base my research on words that are frequently used, but infrequently defined in the regular course of editing a film,1 such as “structure,” “montage,” and “rhythm.” Bill’s expertise in editing came about through many years of practical experience. The AFTRS, in trying to train an editor in a few short years, was already very focused ...
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