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Film Art, Chapter 6: The Relation of Shot to Shot: Editing
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
What Is Editing?
The coordination of one shot with the next.
The duration of the shot and the way it joins to the next shot can affect the viewer’s reaction.
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Editing to Affect Viewer Reaction
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Hitting you scene: https://www.youtube.com/watch?v=s9prJba2vkw
Vomit scene: https://www.youtube.com/watch?v=L-iyxIincCI
Helicopter scene: https://www.youtube.com/watch?v=1fGxqZEOlx0
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Relations Between Shots
There are three types of editing relations between shots:
Graphic (pictures)
Spatial (space)
Temporal (time)
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Graphic Relations Between Shots
Has to do with the pictorial and cinematographic qualities of the shots.
Can involve matching and contrasting these qualities.
In Seven Samurai, a relationship between the characters is established with graphic matches in the editing.
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Spatial Relations Between Shots
Involves establishing or constructing space.
The Kuleshov effect is a series of shots without an establishing shot, but prompts the viewer to infer a spatial whole.
Parallel editing is called crosscutting.
The German film M by Fritz Lang uses crosscutting.
Christopher Nolan uses crosscutting to build suspense and lead to a climax.
Francis Ford Coppola uses crosscutting to show symbolism in the climax of The Godfather.
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Temporal Relations Between Shots
Editing can cue the viewer to construct story time.
There is an order to events in the film which can change story-plot relations.
Editing can condense time through elliptical editing or expand time through overlapping editing.
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Continuity Editing
Continuity editing is a system of editing that allows space, time, and action to flow smoothly over a series of shots.
The rhythm is dependent on camera distance of the shot.
The goal is to present a coherent, clear story.
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No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Spatial Continuity: The 180-Degree System
A scene is constructed over an axis of action, or 180-degree line.
The filmmaker plans all the shots so that the camera doesn’t cross the line.
This ensures consistency in positions of objects in the frame, eyelines, and screen direction.
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Crossing the Axis of Action
Occasionally filmmakers will cross the axis of action in a symmetrical setting, or on the line itself and use it as a transition.
In the film Requiem for a Dream (2000), the filmmaker crosses the axis of action.
Shots on the line often happen during action scenes such as chases.
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No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Temporal Continuity: Order, Frequency, and Duration
Classical editing typically shows events only once and unfolds the narrative chronologically.
Time is seldom expanded, but it is frequently elided.
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Alternatives to Continuity Editing
Abstract and associational form often joins shots together based on the graphic and rhythmic qualities instead of narrative function.
Occasionally narrative films will also do this.
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Spatial and Temporal Discontinuity
Using space ambiguously, inserting jump cuts and violating or ignoring the 180-degree system can jar and disorient the viewer.
These techniques can interfere with narrative clarity.
Breathless and Husbands and Wives use jump cuts.
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
Husbands and Wives – 1:26
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Spatial and Temporal Discontinuity
Shuffling the order of story events or using time ambiguously can block viewer expectations.
Can force the viewer to focus on piecing together the film’s narrative.
Woody Allen’s Deconstructing Harry uses discontinuous editing to block viewer expectations.
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Copyright © 2017 McGraw-Hill Education. All rights reserved.
No reproduction or distribution without the prior written consent of McGraw-Hill Education.
