Lesson 4 : Editing

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Lesson 4 : Editing. Professor Aaron Baker. Previous Lecture. Mise-en-Scene Narrative Function in Smoke Signals (1998). This Lecture. Editing Continuity and Discontinuity in The Limey (1999). Part I: Editing. Editing. Coordinating One Shot with Next Most Analyzed Aspect Film Form - PowerPoint PPT Presentation


<ul><li><p>Lesson 4:EditingProfessor Aaron Baker</p></li><li><p>Previous LectureMise-en-SceneNarrative Function in Smoke Signals (1998)*</p></li><li><p>*This Lecture EditingContinuity and Discontinuity in The Limey (1999)</p></li><li><p>Part I: Editing*</p></li><li><p> Editing Coordinating One Shot with NextMost Analyzed Aspect Film FormFirst Films Just One ShotNow Hollywood Films 1-3 K*1896 - Edison's film entitled The Kiss saw May Irwin and John C. Rice re-enact the final scene from the Broadway play musical The Widow Jones - it was a close-up of a kiss. </p></li><li><p>*Ways to EditIn-CameraStoryboardingEditing TableNow ComputerizedFinal Cut Back on Negative</p></li><li><p>Shot RelationsFour Principles by Which to Connect Shots:Graphic - CompositionRhythmic - LengthSpatial - Build SpaceTemporal Relations - Define Time</p><p>*</p></li><li><p>Graphic EditingContinuity ContrastPictorial ContentMovement/Stasis*</p></li><li><p>RhythmicTemporal Length of ShotLong Shots contemplative Short Shots energyASL in Hollywood Now: Few Seconds *</p></li><li><p>Spatial RelationsEditing Can Create Story SpaceSpaces Juxtaposed to Suggest Contiguous*</p></li><li><p>Crosscutting</p><p>Parallel Editing We See Simultaneous Actions in Different SpacesSpaces LinkedCause and Effect Relationship Between Actions in Two Places</p><p>*</p></li><li><p>Crosscutting (continued)Unrestricted Range of KnowledgePlease watch the clip to see e.g. of crosscutting in Syriana (2005).</p><p>*</p></li><li><p>Four Spaces ParalleledEditing Here Connects Four Spaces:ConvoyCIAOil Execs at BanquetClooney Character</p><p>*</p></li><li><p>Editing and Time Controls Time of StorySupports Plots Manipulation of StoryDetermines Order, Duration, Frequency of Story Actions*</p></li><li><p>Part II:Continuity and Discontinuity Editing in The Limey*</p></li><li><p>OrderUsually ChronologicalFlashbacksFlashforwardsPlease watch a clip from The Limey.Back and Forth in Conversation, Plane, Gun, Warehouse </p></li><li><p>MemoryPresent Tense: Wilson in LA for RevengeFlashbacks to Memories: Plane, Jenny as Girl, When She Confronted Drug SmugglersHis Motivation*</p></li><li><p> RevengeFlashforwards Show What Wilson Wants Hint at Why Wont SatisfyViolent Future Cant Change Past Failed Relationship</p></li><li><p>E.g. Editing Often Elliptical Events Shown With Less Screen Time Than in Story Less Important Events Omitted By Plot*</p></li><li><p>Overlapping Editing Repeating an Action to Expand Story TimeLends EmphasisPlease watch a clip from Do the Right Thing (1989)Important Action: Can Hits Window Twice*</p></li><li><p>Continuity EditingDominant in Hollywood FilmCertain Rhythms: Long Shots Longer than Close UpsMain Objective: Clear Space and Time to Tell Story*</p></li><li><p>Continuity TransitionsMove Story Forward, Demphasize Editing:180 Degree RuleMatch on ActionEyeline MatchShot/Reverse Shot*</p></li><li><p>*Other TransitionsFade out/inDissolve Time PassingWipe Iris Straight CutStill Aide Story Less Invisible</p></li><li><p>More Continuity DevicesEstablishing Shot Whole Narrative SpaceBreakdown (Coverage) Closer ViewsRestablishment Shot New Character, Action</p><p>*</p></li><li><p>Such Analytical Cutting Directs Our Attention Emphasizes Dialogue, Reaction, Cause and Effect Create Narrative Continuity*</p></li><li><p>The LimeyPlease watch a clip from The Limey that illustrates analytical editing.In this scene, Wilson hunts Valentine down in his Big Sur house.*</p></li><li><p>Establishing ShotOf driveway Followed by closer shots in houseGunfightRestablishing shots as Valentine escapes house, Wilson follows*</p></li><li><p>Intensified Continuity1930-60 Classical Continuity Style300-500 ShotsNow 1-3 KNew Continuity to Match New Pace*</p></li><li><p>Contemporary EditingMore Close Ups (CUs)Closer Framing Easier to Understand When Shots are ShortMobile Camera*</p></li><li><p>1960- Present Films Seen on TVFaster Editing, Moving Camera Energize Smaller ImageHolds Viewer Attention in Era of DistractionCUs Present More on Smaller Screen*</p></li><li><p>Discontinuity Editing </p><p>Connections Not Obvious, Invisible Viewer Interprets Assigns Temporal, Spatial, Causal Relations Between Shots *</p></li><li><p>Discontinuity DevicesJump Cut: Transition from one shot to next jumps on screenMakes viewer aware of editingWhat is filmmaker presenting in these shots?</p><p>*</p></li><li><p>Discontinuity in The Limey Please rewatch the first part of the clip we saw earlier from The Limey.Jump Cuts as Eduardo and Wilson Talk</p><p>*</p></li><li><p>Discussion QuestionsWhy these jump cuts?Asking Us to Evaluate Characters? Post a response on the eBoard to these questions and the comment of a colleague.*</p></li><li><p>Summary EditingContinuity and DiscontinuityThe Limey (1999)</p><p>*</p></li><li><p>Next Lecture: Cinematography*End of Lecture 4</p><p>************************************</p></li></ul>