sp 472 american film history, week 5

8/2/2019 SP 472 American Film History, Week 5

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Editing Why do we edit?

± Cuts

± Time

± Space

± Rhythm



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



Editing

Right

Wrong



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



Editing Shot/Reverse Shot



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.



Editing



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.



Editing



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



EditingMontage

1. A synonym for ed iting .

2. An approach to editing

developed by the Sovietfilmmakers of the 1920ssuch as Pudovkin, Vertovand Eisenstein; itemphasizes dynamic, oftendiscontinuous, relationships

between shots and the juxtaposition of images tocreate ideas not present ineither shot by itself

Pot emk in



Editing Graphic Match

± Two successive shots

joined so as to create a

strong similarity of

compositional elements

(e.g., color, shape).



Editing Overlapping Editing

± Cuts that repeat part or

all of an action, thus

expanding its viewing

time and plot duration



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.



N orth by N orthw est

Crop Duster Scene



Editing Run Lola Run

Dir. By Tom Twyker, 1998, w/

Franka Potente

"This film contains about 1581transitions (edits, dissolves,

fades, wipes, etc) in 71 minutes

of action (i.e. excluding the

credits, and pre-credits

sequence). This equates to an

Average Shot Length of about2.7 seconds. Interestingly, the

editing is relatively slower

towards the end of the film. For

most contemporary films, the

opposite is the norm.´ IMDB



Editing Mise en Scene ± red color

values = danger

Twyker is a big fan of

Hitchcock¶s V ertigo thus all thered & stairs«

sp 472 american film history, week 5

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