Transcript

EDITING

ESSENTIALCONCEPTS

OUTLINEOFKEYAREAS

1.  DEFINITION

2.  DIMENSIONS

3.  CONTINUITYEDITING

4.  ALTERNATIVESTOCONTINUITYEDITING

1.DEFINITION

•  Thecoordinationofoneshotwiththenext•  Shot:– Oneormoreexposedframesinaseriesonacontinuouslengthoffilmstock.

– Anuninterruptedrunofthecamera•  Thesejoinsofshotscanbeofdifferentsorts

fade-outfade-indissolvewipes

Typesofjoins

•  Fade-out:graduallydarkenstheendofashottoblack

•  Fade-in:lightensashotfromblack•  Dissolve:brieflysuperimposestheendofshotAand

thebeginningofshotB•  Wipe:shotBreplacesshotAbymeansofa

boundarylinemovingacrossthescreen. Bothimagesarebrieflyonthescreenatthe

sametime,buttheydonotblend,asinadissolve

Typesofcuts-cont

•  Intheproductionprocessfades,dissolves,wipes areopticaleffects

•  Theyaretypicallyexecutedinthelaboratory

•  Themostcommonmeansofjoiningtwoshotsisthecut

2.DIMENSIONSOFEDITING

•  GRAPHIC

•  RHYTHMIC

•  SPATIAL

•  TEMPORAL

2.DIMENSIONSOFEDITING-cont

•  Editingoffersthefilmmakerfourbasicareasofchoiceandcontrol:

1.  GraphicrelationsbetweenshotAandshotB2.  RhythmicrelationsbetweenshotAandshotB3.  SpatialrelationsbetweenshotAandshotB4.  TemporalrelationsbetweenshotAandshotB

GraphicrelationsbetweenshotA&shotB

•  Graphicmaybeeditedtoachievesmoothcontinuityorabruptcontrast

•  Thefilmmakermaylinkshotsbygraphicsimilarities,makingagraphicmatch

•  Editingneednotbegraphicallycontinuous•  Graphicallydiscontinuouseditngcanbemore

noticeable–clashfromshottoshot,e.g.CitizenKane(1941,OrsonWelles),NightandFog(1956,AlainResnais)

RythmicrelationsbetweenshotA&shotB

•  Whenthefilmmakeradjuststhelengthofshotsinrelationtooneanother,heorsheiscontrollingtherhythmicpotentialofediting

•  Rhythmincinemaincludesmanyfactors–principallyaccent,beatandtempo

SpatialrelationsbetweenshotA&shotB

•  Editingusuallyservesnotonlytocontrolgraphics&rhythm,buttoconstructfilmspaceaswell

•  Editingpermitsthefilmmakertorelateanytwopointsinspacethroughsimilarity,difference,ordevelopment

TheKuleshoveffect

•  ThepossibilityofspatialmanipulationwasexaminedbytheSovietfilmmakerLevKuleshov

•  Duringthe190s,Kuleshovshotandcut“experiments”inconstructingspatialrelations

byeliminatingtheestablishingshots

•  Themostfamousoftheseinvolvedthecuttingofneutralshotsofanactor’sfacewithothershotsThesewerereportedasshotsofsoup,naturescenes,addeadwoman,ababy

TheKuleshoveffect-cont

•  Theresultwasthattheaudienceimmediatelyassumednotonlythattheactor’sexpressionchanged,butalsothattheactorwasreactingtothingspresentinthesamespaceashimself

•  Similarly,Kuleshovcuttogethershotsofactors,“lookingateachother”butonMoscowstreetsmilesapart,thenmeetingandstrollingtogether–andlookingattheWhiteHouseinWashington

TheKuleshoveffect-cont

TheKuleshoveffectis,then,anyseriesofshots

thatintheabsenceofanestablishingshotpromptsthespectatortoinferaspatialwholeonthebasisofseeingonlyportionsofthespace

SpatialrelationsbetweenshotA&shotB-cont

•  Editingcanalsoemphasizeactiontakingplaceinseparateplaces,e.g.Intolerance(D.W.Griffith,1916)

•  Suchparallelediting,orcrosscutting,isacommonwayfilmsconstructavarietyofspace

•  Moreradically,theeditingcanpresentspatialrelationsasbeingambiguous&uncertain,e.g.ThePassionofJoanofArc(CarlT.Dreyer,1928)

TemporalrelationsbetweenshotA&shotB

•  Editingcancontrolthetimeoftheactiondenotedin thefilm•  Inanarrativefilmespecially,editingusually

contributestotheplot’smanipulationofstorytime

•  Flashbacks&flashforwardsalterthechronologicalorderofevents

•  Editingalsoofferswaysforthefilmmakertoalterthedurationofstoryevents

TemporalrelationsbetweenshotA&shotB-cont

•  Ellipticaleditingpresentsanactioninsuchawaythatitconsumeslesstimeonthescreenthanitdoesinthestory

•  Thefilmmakercancreateanellipsisinthreeprincipalways:

1.  Adissolve2.  Awipeorafade3.  Acutaway4.  Ablackframe

CONTINUITYEDITING

•  Thegoalistoarrangetheshotssoastotellastory

coherently&clearly•  Editing,supportedbyspecificstrategiesof

cinematography&mise-en-scène,isusedtoensurenarrativecontinuity

•  Thebasicpurposeofthecontinuitysystemistocreateasmoothflowfromshottoshot

CONTINUITYEDITING-cont

•  First,graphicqualitiesareusuallykeproughlycontinuousfromtotoshot

•  Second,therhythmofthecuttingisusuallymadedependentonthecameradistanceoftheshot.Longshotsareleftonthescreenlongerthanmediumshots,&mediumshotslongerthanclose-ups

•  Theassumptionisthatthespectatorneedsmore

timetotakeintheshotscontainingmoredetails

SPACECONTINUITY:THE180DEGREESYSTEM

•  Thespaceofasceneisconstructedalongwhatiscalledthe“axisofaction”,the“centerline”,orthe“180line”

•  Thescene’sactionisassumedtotakeplacealongadiscernible,predictableline

•  Thisaxisofactiondeterminesahalf-circle,or180

degreearea,wherethecameracanbeplacedtopresenttheaction

The180degreeline– cont

•  Consequently,thefilmmakerwillplan,film&edittheshotssoastorespectthiscenterline

•  Thecameraworkandmise-en-scèneineachshotwillbemanipulatedtoestablish&reiteratethe180space

•  The180systemensuresthatrelativepositionsintheframeremainconsistent

The180degreeline-cont

•  The180degreelineensuresconsistenteyelinesandscreendirections

•  Theviewershouldalwaysknowwherethecharactersareinrelationtooneanother&tothesetting

•  Thevieweralwaysknowswhereheorsheiswithrespecttothestoryaction

•  Thespaceofthescene,clearly&unambiguouslyunfolded,doesnotjarordisorient

Eyelinematch

•  Acutobeyingtheaxisofactionprinciple,inwhichthefirstshortshowsapersonlookingoffinonedirection&thesecondshowsanearbyspacecontainingwhatheorshesees

•  Ifthepersonlooksleft,thefollowingshotshouldimplythatthelookerisoffscreenright

•  Withinthe180degreesystem,theeyelinematch,liketheconstantscreendirection,canstabilizespace

Matchonaction

•  Acontinuitycutwhichsplicestwodifferentviewsofthesameactiontogetheratthesamemomentinthemovementmakingitseemstocontinueuninterrupted

Crosscutting

•  Editingthatalternatesshotsoftwoormorelinesofactionoccurringindifferentplaces,usuallysimultaneously

•  D.W.Griffithperfectsthistechniqueinhischaseandrescuescenes,e.g.TheBattleatElderbushGulch(1913),TheBirthofaNation(1915),Intolerance(1916)

TEMPORALCONTINUITY

•  Intheclassicalcontinuitysystem,time,likespace,isorganizedaccordingtothedevelopmentofthenarrative

•  Storydurationisseldomexpanded,thatis,screentimeisseldommadegreaterthanstorytime

•  Ellipticalediting:shottransitionsthatomitpartsofanevent,causinganellipsisinplotandstoryduration

•  Aformofellipticaleditingistomakea“montagesequence”

TEMPORALCONTINUITY-cont

•  Thecontinuitystyleusesthetemporaldimensionofeditingprimarilyfornarrativepurposes

•  Likegraphics,rhythm&space,timeisorganizedtopermittheunfoldingofcause&effect,thearousalofcuriosity,suspense&surprise

ALTERNATIVESTOCONTINUITYEDITING-Graphic&rhythmicpossibilities

•  Useofgraphic&rhythmicpossibilitiestojointheshots

•  ExperimentalfilmmakerStanBrakhageusespurelygraphicmeansofjoiningshottoshot:continuities&discontinuitiesoflight,texture&shapemotivatetheediting

•  InthechoreographiesofBusbyBerkeley,thenarrativeperiodicallygrindstoahalt,&theintricatedancesarearranged,shot&editedaccordingtotheconfigurationofdancers&backgrounds,e.g.42ndStreet(1933)

Spacial&TemporalDiscontinuity

•  Insteadofanaxisofactionwherethecameraisplacedwithinanimaginarysemicircle,thefilmmakersworkasiftheactionwerenotalinebutapointatthecenterofacircle,&asifthecameracouldbeplacedatanypointonthecircumference

•  ThefilmsofJacquesTati&YasujiroOzuofferexamplesofthisdiscontinuity

Jumpcuts&non-diegeticinserts

•  Twonotabledevicesofdiscontinuity•  Jumpcut:anellipticalcutthatappearstobean

interruptionofasingleshot•  Eitherthefiguresseemtochangeinstantlyagainsta

constantbackground,orthebackgroundchangesinstantlywhilethefiguresremainconstant,e.g.Breathless(1960,Jean-LucGodard)

•  Non-diegeticinsert:thefilmmakercutsfromthescenetoametaphoricalorsymbolicshotthatisnotpartofthespace&timeofthenarrative,e.g.theslaughteredcowinStrike(1924,SergeiEisenstein)

Discontinuityediting:TheOdessaStepssequenceinBattleshipPotemkin(1925)

•  SovietfilmmakerSergeiEisensteindeliberatelyopposedhimselftocontinuityediting

•  Hestaged,shot&cuthisfilmsforthemaximumcollisionfromtoshot,sequencetosequence

•  Hebelievedthatonlythroughbeingforcedtosynthesizesuchconflictscouldtheviewerparticipateinactivelyunderstandingthefilm

•  IntheOdessaStepssequenceheconstructsanintrincatepatternofimagescalculatedtostimulatetheviewer’ssenses,emotions&thinking

Filmssuggestedasexamples

•  Graphicmatch–TheWrongMan(1957,Hitchcock) ThePrincessDiaries(2001,Marshall)

•  Rhythmicediting–LoveMeTonight(1932,Mamoulian)Singin’intheRain((1952,Donen)

•  Eyeline– DeadMenDon’tWarPlaid(1987,Reiner)•  Continuityediting– TheMalteseFalcon(1941,Huston)•  Montage(alternativeediting)– Strike(1924)&

BattleshipPotemkin(1925)byEisenstein

Source:

ThisoutlinefollowstheconceptsoneditingdevelopedbyDavidBordwell&KristinThompsonintheirFilmArt,AnIntroduction(2001)

Thelistoffilmexampleshasbeenpreparedby

MaríaElenadelasCarreras


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