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-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