Download - SP 472, Week 5, 2011
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Editing Why do we edit?
Cuts
Time
Space
Rhythm
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Editing The 180r Rule Continuity editing relies upon
matching screen direction, position,and temporal relations from shot to
shot. The film supports the viewer'sassumption that space and time arecontiguous between successiveshots
The axis of action is an imaginaryline drawn between the two major
dramatic elements A and B in ascene, usually two characters
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Editing
Right
Wrong
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Editing By following this rule the
filmmaker ensures thateach character occupiesa consistent area of the
frame, helping theaudience to understandthe layout of the scene.This sense of aconsistent space isreinforced by the use of
techniques such as theeyeline match or matchon action
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Editing Shot/Reverse Shot
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Editing Eyeline Match
A cut obeying the axis of action principle, inwhich the first shot shows a person off in one
direction and the second shows a nearbyspace containing what he or she sees. If theperson looks left, the following shot should
imply that the looker is offscreen right.
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Editing
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EditingMatch on Action
A cut which splices two different
views of the same action together
at the same moment in the
movement, making it seem to
continue uninterrupted.
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Editing
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Editing
An elliptical cut that appears to be an
interruption of a single shot. Either the figures
seem to change instantly against a constant
background, or the background changes
instantly while the figures remain constant.
Jump Cut
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Editing Graphic Match
Two successive shots
joined so as to create a
strong similarity of
compositional elements
(e.g., color, shape).
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Editing Overlapping Editing
Cuts that repeat part or
all of an action, thus
expanding its viewing
time and plot duration
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Editing Rhythm
The perceived rate and
regularity of sounds,
series of shots, and
movements within the
shots. Rhythmic factors
include beat (or pulse),
accent (or stress), and
tempo (or pace). Rhythmis one of the essential
features of a film, for it
decisively contributes to
its mood and overall
impression on the
spectator.
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North byNorthwest
Crop Duster Scene
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EditingMontage
1. A synonym forediting.
2. An approach to editing
developed by the Sovietfilmmakers of the 1920ssuch as Pudovkin, Vertovand Eisenstein; itemphasizes dynamic, oftendiscontinuous, relationships
between shots and thejuxtaposition of images tocreate ideas not present ineither shot by itself
Potemkin
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Editing Rashomon, 1950 Dir. By Akira Kurosawa, starring
Toshiro Mifune
Mifune on Kurosawa "I am proud of
nothing I have done other than with
him."
Early film in Kurosawas long
career
Studio head disliked it so much,
he had his name removed from
the credits Credited with opening Japanese
Cinema to the West
Story of reality and flashbacks
has been borrowed often
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Editing Multiple cameras running Shooting into the sun
Visual texture watch the rain
Mirrors to reflect the light on the
actors Crosses the axis repeatedly (the
3 person stand off)
Graphic matches
Use of the wipe
Over 400 shots thats a lot Cuts on motion one action,
multiple shots
Harks back to silent film &
Japanese theatrical style
Rashomon Sequence Analysis
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Editing The Rashomon Effect The subjectivity of perception from
visual anthropologist Karl Heider
Countless movies and television shows
have remade Rashomon by
incorporating the contradictory
flashbacks of unreliable narrators.
Steven Prince forThe Criterion
Collection
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EditingAkira Kurosawa, 1910-1998One of the most successful
Japanese directors in the West
Trained as a painter all the
storyboards forR
an are fullpaintings
One Lifetime Achievement Oscar
Best Foreign Film Oscars for
Rashomon & Dersu Uzala
Films include:
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Editing
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Editing
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Ran & Kagemusha
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Ran
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EditingToshir Mifune, 1920-1997The samurai or ronin
Made 16 films with Kurosawa
Machiko Ky, 1924-
Still performs in Japanese
theater
Masayuki Mori, 1911-1973
Takashi Shimura, 1905-1982
Made 21 films with Kurosawa
(see Ikiru) as well as some
Godzilla films
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EditingHuman beings are unable to be honest with themselvesabout themselves. They cannot talk about themselves
without embellishing. This script portrays such human
beingsthe kind who cannot survive without lies to make
them feel they are better people than they really are. It
even shows this sinful need for flattering falsehoodgoing beyond the graveeven the character who dies
cannot give up his lies when he speaks to the living
through a medium. Egoism is a sin the human being
carries with him from birth; it is the most difficult to
redeem. This film is like a strange picture scroll that is
unrolled and displayed by the ego. You say that you
cant understand this script at all, but that is because thehuman heart itself is impossible to understand. If you
focus on the impossibility of truly understanding human
psychology and read the script one more time, I think
you will grasp the point of it.
Kurosawa forThe Criterion Collection