What expanded description of film editing can be articulated and explored to explicate it (for students) and deepen understanding and practice (for practitioners)?
This question is explicitly and implicitly addressed in many of the outputs of this project. On this page it is explored through essays on the personal editing dilemmas that led me to this research, and some of the private experiences that shaped me into the editor I am. It is also explored through different pedagogic approaches I have developed to shape future editors.
These essays were written between 2019 and 2023 and provide insights into my tastes, ethics, biases, and the conditions and experiences that have shaped me and leave traces through my editing. By sharing some background of the handprint I leave, I use myself as an example of individual contribution in collaborative filmmaking.
This research has been in dialogue with my teaching practice all along. My time was divided between teaching and research, and these endeavors are closely intertwined. My pedagogic work has developed from my research, run parallel with the research process, and recurringly affected the research trajectory.
Physical Editing is an advanced-level course, applying choreographic tools to interpretating, composing and editing film material without dialogue, connecting questions of filmmaker perspective, ethics, interpretation, and viewer experience to concrete film practice.
I presented this course as a case study at the Cilect conference “A Perfect Film Editor” at the Polish film school in Lodz in November 2021. The course is taught to students specializing in film editing on both BA and MA levels at Stockholm University of the Arts.
This essay was originally written in Swedish in 2018 and deals with some of the editing experiences that prompted me to do this research project. Through explicit and detailed descriptions of three documentary projects, I tried to unveil tacit knowledge and bring to the surface some editing concerns itching me for many years.
