Any discussion of a film's pacing brings to mind a wonderful Fritz Lang quote:
"Every film has a mood, a rhythm." How editorial and scoring considerations
are employed in conjunction with one another goes a long way toward
establishing a film's rhythm. Peckinpah's WILD BUNCH offers an instuctive
example of masterful use of both to produce beautiful filmic rhythm. Of course,
many others abound. The key point is that much more is involved in "pacing"
than mere staccato structure, MTV-editing. How the film is cut is one prime
ingredient that goes into establishing pace. Advantage can be gained by
calling upon the terminology of music when analyzing film pacing.
Gary Weston Fuchs
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>On Tue, 18 Oct 1994, Lorene Dur wrote:
>> Rand, pacing in a film has a lot to do with the editing, i.e. length of
>> shots, juxtaposition, etc.  I would recommend books like, When The
>> Shooting Stops and to check out the theories of Sergei Eisenstein and Leo
>> Kuleshov.
>> ld
>I definitely agree, pacing can be a very valid and applicable term.
>And Stone would be your modern-day montage boy--pacing is everything for him.