Abstract
Pearlman stacks the Australian Screen Editors Guild Awards judging criteria against two dynamically edited musicals. Bob Fosse's Cabaret and Rob Marshall's Chicago. The films put her own theories about the choreographic nature of editing to the test, as she analyzes the flow of story, emotion, and images in the two movies. She also examines the structure of key numbers to determine how the "editing artistry" of each "reveals themes, creates emotion, and persuades the senses.".
| Original language | English |
|---|---|
| Pages (from-to) | 28-32 |
| Number of pages | 5 |
| Journal | Cineaste |
| Volume | 34 |
| Issue number | 2 |
| Publication status | Published - 2009 |
| Externally published | Yes |