film（Run Lola Run）

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Editing

  • Eisenstein- Russian Montage period (early 1920’s) defined the Shot is the basic unit of cinema
  • Editing (montage) is the joining together of separate shots
  • Juxtaposition – to place side by side; often to compare, contrast, group or exhibit likeness
  • When two or more shots are combined meaning can be conveyed beyond the properties found in the individual shots.

Editing and Meaning

  • Editing can critically alter how we interpret a film.
  • Increase dramatic tension, alter performance, or change narrative content
  • It can be active and dominate our interpretation of a film, or it can be inactive and allow other properties of the cinema to prevail.

Editing Assimilates

  • Editing, by its definition, relies on OTHER properties of the cinema (narrative, mise en scene, performance)

Narrative Structures and Editing

  • The Scene: a single unit occurring at a specific time, place, usually involving character interaction, in order to advances the plot
  • specific narrative information
  • Sequence of scenes: a collection of scenes to form an ‘act’
  • over all movement in dramatic structure
  • Fretag’s Pyramid

Editing Structures

  • An Editing Structure is a combination of shots that conveys meaning through established, recognizable patterns.
  • The Shot Reverse Shot is an Editing Structure
  • Cinematic Terms / Cinematic language

Editing Structures (cont)

  • There are two general categories that group editing structures
  • Continuity Edit –maintains contiguous time and space\
  • Classic/Invisible cut
  • Hollywood Style
  • Promotes Narrative Content /Performance
  • Discontinuity Edit- disrupts ‘flow’ of contiguous time and or space
  • often convey meaning figuratively or intellectually
  • Form .

The Continuity Edit

  • Maintains continuity of movement and action between shots
  • Matching action
  • Continuity edits allow the camera to move ‘invisibly’ without calling attention to itself
  • proximity

  • The majority of screen time in most films are made with continuity edits

Time and Space Abridged

  • The Continuity Edit is ‘invisible’
  • The cut is made without notice.
  • The cut is made without disorienting the viewer
  • HOWEVER
  • It can leap, instantaneously, covering extreme distances
  • Proximity
  • It can shorten or lengthen our normal perception of time

Cinema has properties that differ (radically) from phenomenal world—follows ‘rules’ unique onto itself.

Clip: Man Who Knew

Types of Continuity Edits

  • Ellipsis
  • The Seamless Edit
  • Shot Reverse Shot
  • The Parallel Edit
  • The POV edit
  • The Contextual Edit

Ellipses

…

Shortens (abridges) by removing insignificant detail

  • Emphasizes what is important in a scene
  • focuses our attention
  • creates a rhythm or tempo
  • build dramatic tension

  • Ellipses maintains continuity… HOWEVER, ellipsis is a distortion of the perceived world, an abridgement that ‘jumps’ in either time or space
  • ‘Cinematic language’

Clip: Dark Knight (chap 3)

The Seamless Edit

  • The Seamless Edit, is designed so that the audience is unaware of the cut
  • Invisible Cut
  • There are several ways in which a Seamless Edit maintains continuity
  • Match Movement- (matching action, cut on action)
  • Movement matches, from one shot to the next
  • Direction of movement, Tempo, Placement.
  • Match Dialog (semantics)
  • sound

Clip: Fury

Shot Reverse Shot

  • Primary structure of the dialog scene
  • Isolated shots (singles)
  • Combination of MS and CU.
  • normal conversation- convey narrative information
  • Shots cut together with similar or exact framings
  • Eyeline match
  • Over the Shoulder (OTS)
  • Reaction Shot
  • Offscreen dialog- overlap edit
  • Subtext

Clip: Heat

Heat-Reaction Shot