styles of editing continuity editing hollywood narrative style “analytic editing” invisible shot...

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Styles of editing Continuity editing Hollywood narrative style “Analytic editing” Invisible shot transitions Shots subordinated to unity of segment Implies a passive spectator Discontinuity editing Modernist and experimental “Montage” style Foregrounds shot transitions Stresses formal integrity of each shot Implies active spectator

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  • Styles of editingContinuity editingHollywood narrative styleAnalytic editingInvisible shot transitionsShots subordinated to unity of segmentImplies a passive spectatorDiscontinuity editingModernist and experimentalMontage styleForegrounds shot transitionsStresses formal integrity of each shotImplies active spectator

  • Continuity editingHollywood, narrative style.Analytic editing.Invisible shot transitions.Shots subordinated to unity of segment.Implies a passive spectator.

  • Analytic editing in Sabotage

  • Discontinuity editingModernist and experimental films.Montage style.Foregrounds shot transitions.Stresses formal integrity of each shot.Implies active spectator.

  • The aesthetics of editing relies on four areas of choice and controlGraphic relations

    Rhythmic relations

    Spatial relations

    Temporal relations

  • Rhythmic relations between shotsMetrical montage

  • Graphic relations between shotsLine




    Tonal contrast

    Speed and direction of movement

  • Graphic relations between shots

  • Graphic relations between shots

  • Spatial relations between shotsThe Kuleshov effect

    Creative geography

  • Temporal relations between shotsJumpcuts

    Overlapping edits

    Flashbacks and flashforwards

  • Sergei Eisenstein (1898-1948)To precisely calculate he design of the work of art and its effects on the spectator.No practice without theory.No practice or theory of art separate from the social command.

  • The ideogram and the montage cell

  • Eisensteins theory of spectatorshipTo direct forcefully the emotions and thought processes of the spectator as a series of shocks.Pavlovs reflexology: stimulus and response.Marxist dialectic: out of conflict comes a higher unity, a synthetic idea in the mind of the spectator.Montage as a bridge betweenLaws of aesthetic form;Laws of mind.Dialectics:From conflict or collision to a higher unity.The dialectic as a leap from quantity (aesthetic form) to quality (transformation of consciousness in the spectator).

  • Vertical montageMetric montagePhysiological: photograms resolving into apparent motionShot length and pacingRhythmic montageArtificially produced movement (logical and alogical)Conflict between frames and syncopation of movement within the frameTonal montageAssociational or overtonal montageIntellectual montage

  • Vertical montage


    apparent motion





    artificial movement (logical)






    organization of dominant




    emotional dynamization through

    chains of psychological associations




    conceptual; logical deduction

  • Metric and rhythmic montage

  • Tonal and overtonal montage

  • Intellectual montage

  • Dynamic structure and ecstatic compositionThe Odessa steps

    Chaotic movement : rhythmic marchingMasses : linesClose-ups : long shotsMovement up : movement down

    The stone lions leap