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Page "Film editing" ¶ 80
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** and cut
** " Rule 1: Never make a cut without a positive reason.
** " Rule 2: When undecided about the exact frame to cut on, cut long rather than short.
** " Rule 3: Whenever possible cut ' in movement '.
** Emotion ( 51 %) — Does the cut reflect what the editor believes the audience should be feeling at that moment?
** Story ( 23 %) — Does the cut advance the story?
** Rhythm ( 10 %) — Does the cut occur " at a moment that is rhythmically interesting and ' right '" ( Murch, 18 )?
** Eye-trace ( 7 %) — Does the cut pay respect to " the location and movement of the audience's focus of interest within the frame " ( Murch, 18 )?
** Two-dimensional plane of the screen ( 5 %) — Does the cut respect the 180 degree rule?
** Three-dimensional space of action ( 4 %) — Is the cut true to the physical / spatial relationships within the diegesis?
** Axial cut
** Jump cut
** Match cut
** Flank steak, a cut of beef
** secō, secāre, secuī, sectum, " to cut, to divide ";
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** Flowers to cut and bring inside for indoor beauty
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** 311. 11 Idiochord musical bows – The string is cut from the bark of the cane, remaining attached at each end.
** Much other material, especially involving Falstaff, is cut.
** Acts 4 and 5 are heavily cut, and scenes and speeches are freely rearranged.
** Act 3, Scene 3 is heavily cut ; the servant's monologue is totally omitted, though Lucilius appears in the background for the scene.
** The DVD also presents the owner with the ability to play the theatrical cut of the film with the animated scene as if it were part of the feature.
** Audio and video commentary for the first cut of the film.

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