4 - Identity - Editing

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<ul><li><p>7/31/2019 4 - Identity - Editing</p><p> 1/11</p><p>Learning Focus: Editing</p><p>Were focusing on developing knowledge around these</p><p>core questions:</p><p>- How does the editing in the film disrupt the suspensionof disbelief?</p><p>- How/why can this connect to the construction of</p><p>identity?</p><p>- How does the use of intercutting reinforce these ideas,</p><p>particularly in reference to the idea of identity as a</p><p>palimpsest?</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 2/11</p><p>Process</p><p>- A little from me about traditional editing processes</p><p>- Understanding the concept of suspension of disbelief</p><p>- Close examination of Hayness attitude towards editing</p><p>by watching sequences</p><p>- Discussing connection to the our recent ideas about</p><p>distancing the audience</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 3/11</p><p>Traditional Editing</p><p>- Essentially based around invisibility</p><p>- Idea of continuity editing is that the viewer shouldnt notice</p><p>the edits</p><p>- Hollywood style editing avoids jump cuts or any editing</p><p>styles that draw the viewers attention to the fact that editing</p><p>is taking place</p><p>- Intention is to establish and maintain the viewers</p><p>suspension of disbelief</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 4/11</p><p>Suspending Disbelief</p><p>- An unsaid social contract that takes place between the viewer and the</p><p>film-maker</p><p>- We always know that what we see on screen is a fiction. We always</p><p>know this, even if the film is a documentary.</p><p>- As a consequence, we cannot believe what we see, but we must see</p><p>it as reality if we are to feel real emotions, if we are to be entertained,</p><p>etc.</p><p>-And so we willingly suspend our disbelief, i.e. the answer to why are</p><p>you getting so upset, its just a film? is, I was suspending my</p><p>disbelief, more me it was real.</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 5/11</p><p>Sustaining this...</p><p>- In order for willing suspension of disbelief to be sustained, the film</p><p>maker cannot draw the viewers attention to the fact that they are</p><p>watching a film (think Inception, as soon as the dreamer is aware</p><p>that theyre dreaming, the dream starts to become unstable)</p><p>- And because editing is a hugely unnatural process, it has to be</p><p>made as invisible as possible to sustain the suspension of disbelief</p><p>- Thus, continuity editing attempts to smooth over the essentialdiscontinuity that exists in the editing process</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 6/11</p><p>In Im Not There</p><p>- Its a combination</p><p>- Within timelines, there is a lot of continuity editing, to help</p><p>give us some investment in each timeline</p><p>- Between timelines, the editing is jarring - we jump in time</p><p>and space, and we jump between visual styles</p><p>- Were interested in the impact of the editing between</p><p>sequences and the effect of this has on any suspension of</p><p>disbelief</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 7/11</p><p>Watching it happen</p><p>- Do your best to keep up - not always easy</p><p>- Focus on cuts between timelines</p><p>- Note down the two shots involved in the transition and</p><p>what timelines they come from, e.g. Jude LS to Billy CU</p><p>We do this so that you can be specific when youre</p><p>talking about examples in your response writing.</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 8/11</p><p>Why?</p><p>So, an editing style of this kind draws the viewers</p><p>attention to the fact that they are watching a film - they</p><p>cannot suspend their disbelief as a consequence.</p><p>Why would Haynes want to disrupt the suspension of</p><p>disbelief?</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 9/11</p><p>The Bigger Picture</p><p>In a really similar way to what the music does, the use of a discontinuous or</p><p>non-continuous editing style draws our attention to the fictional nature of the</p><p>film.</p><p>We become much more aware of the cuts, and as a consequence we are</p><p>made much more aware of the film as a construction - literally as a piecing</p><p>together of different scenes.</p><p>Once again, the form of the film represents this key concept of identity as a</p><p>fiction/construction. The film reminds us that it is not presenting us withreality, it is presenting us with a construction - and because the film about</p><p>about Bob Dylan, it reflects on the fact that Bob Dylan himself is a</p><p>fiction/construction.</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 10/11</p><p>Intercuts/Insert shots</p><p>As weve seen, the editing is not defined by cause and</p><p>effect, but is far more dream like - its about</p><p>interconnections rather than direct causes and their</p><p>effects.</p><p>One of the most jarring techniques that Haynes uses to</p><p>achieve this are insert shots.</p><p>The best way to describe these is to show a couple of</p><p>examples...</p></li><li><p>7/31/2019 4 - Identity - Editing</p><p> 11/11</p><p>From the directors commentary</p><p>Haynes talks specifically about how it was the editing process that</p><p>brought a lot of the final structure to the film. Initially the stories were</p><p>more interwoven, with shorter times on each, but Haynes and his editor</p><p>decided that they need to find a balance between what was watchableand what really make you think like you were living all of these lives at</p><p>the same time.</p><p>And so were back to multiplicity - the editing is designed to reinforce this</p><p>sense of multiple identities all existing at the same time. It takes us backto that notion of the palimpsest - whatever we are seeing on screen</p><p>always already has echoes of what has come before. Theres never a</p><p>clear slate.</p></li></ul>