editing looking at movies - pp. 296-335. what is editing? the arrangement and assembly of footage,...

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EDITING LOOKING AT MOVIES - PP. 296-335

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Page 1: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

EDIT

ING

LOOKIN

G AT

MOVIE

S - PP.

296-3

35

Page 2: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

WHAT IS EDITING? The arrangement and assembly of

footage, both picture and sound Governs the relations between shots

and between scenes Helps control emphasis on person,

setting, or object

CUT vs. SPLICE (separate film) (join film)

Page 3: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

WHAT IS THE KULESHOV EFFECT? Rapid juxtaposition of shots to create a

new meaning in viewer’s mind

Sequence: dead woman/actor/child/ actor/soup/ actor actor got rave reviews even though it was the same shot each time

Principle developed from Russian Montage tradition

ClipClip: : Hitchcock explainsHitchcock explains

Page 4: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between
Page 5: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

CONTINUITY EDITING

It’s also called “invisible” editing because it doesn’t call attention to itself

Creates seamless continuity in the establishment and resolution of a problem

Page 6: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

CONTINUITY EDITING ENSURES THAT:what happens on screen makes sense

action occupies central zone of screen lighting is constant from shot to shottime, space, and causality are continuousgraphic, rhythmic, spatial, and temporal relations are maintained

rhythm varies according to kinds of shotsscreen direction remains continuous

Ex:Ex: Edwin S. Porter (The Edwin S. Porter (The Great Train Robbery) Great Train Robbery) D.W. Griffith (D.W. Griffith (Birth of a NationBirth of a Nation) )

Page 7: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

180 DEGREE RULEKeeps viewer spatially oriented action within a scene will advance along a straight line across the frame

camera will shoot consistently on one side of that action

CLIPS:CLIPS:Silence of the Lambs Silence of the Lambs Wonderboys (breaks it)Wonderboys (breaks it)

Page 8: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between
Page 9: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

DISCONTINUITY EDITING More fragmented Shots > scenes Moments > real-time fluidity Poetic expression > realistic interpretation Conspicuous editing > “invisible” editing Joining shot A and shot B to create a

meaning not present in each shot alone French New Wave filmmakers (1960’s)

liked it

CLIPSCLIPS: Battleship Potemkin, Memento: Battleship Potemkin, Memento

Page 10: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between
Page 11: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

THE EDITOR CREATES . . . Spatial, temporal, and visual relationships

between shots The PianoThe Piano Rhythm Run Lola Run, Raiders of the Lost Run Lola Run, Raiders of the Lost

ArkArk Mood Psycho, Silence of the LambsPsycho, Silence of the Lambs Ellipsis – omission between one thing and

another Separation editing – cuts between 2 or more

characters involved in actions at the same time Silence of the LambsSilence of the Lambs

Patterns RushmoreRushmore Slow disclosure – shots A to B to C gradually

reveal elements of a scene The BirdsThe Birds

Page 12: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between
Page 13: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

CONVENTIONS OF EDITING Establishing shot – a.k.a. cover shot or

master POV editing Cross-cutting – a.k.a. parallel montage

((The GodfatherThe Godfather)) Shot/Reverse shot - conversations Jump cut – ellipsis caused by removal of

film ((BreathlessBreathless)) Match cut- General term for cut that

creates sense of continuity between shots.

Page 14: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

CONVENTIONS OF EDITING (CONT.)Types of match cuts:Match-on-action – Cut in the middle of an action & changes to a different set up

Accentuates sense of continuityStylized effect 20012001Graphic match cutShape, color, or texture of objects match across the edit2001; Indiana Jones2001; Indiana JonesEyeline-match cut Joins shot A of a person looking off screen with shot B of what s/he is looking at

VertigoVertigo

Page 15: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between
Page 16: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between
Page 17: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

CONVENTIONS OF EDITING (CONT.)Transitions: Fade-in & fade-out Dissolve- shot B, superimposed,

gradually replaces shot AUsed for ellipsis in time or flashback/flashforward

Wipe – vertical or horizontal Think serials and Star WarsStar Wars

Iris-in – starts with small circle in the frame and expands to reveal shot

Iris-out – reverse the iris-in

Page 18: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

OTHER EDITING CONVENTIONS Freeze-frame highlights a frame Split-screen uh, splits the screen

Mean GirlsMean Girls (2004) (2004)

Montage sequence of shots that show a condensed series of events (bracket syntagma)

Page 19: EDITING LOOKING AT MOVIES - PP. 296-335. WHAT IS EDITING?  The arrangement and assembly of footage, both picture and sound  Governs the relations between

EDITING AND POSTPRODUCTION1) Dailies (or rushes) during shooting2) Workprint or digital video transfer3) Selects (the chosen takes) used to

create assembly edit (shots in basic order)

4) Rough cut- like a first draft5) Fine cut- fine tuned6) Final cut - insert sound tracks, & special

effects7) Locked print – no more changes8) Negative cut/answer print – lab tweaks9) Final print - tada!10)Release prints – in theaters 11)Cutting continuity script – the final

record of the film’s form and content