Editing

CUT

CUT

Is the joining of two separate shots

CUT

Is the joining of two separate shots

So that the first shot is instantaneously replaced by the second

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s - Lumiere Brothers invented the Cinematograph

Lumiere Bros. Cinematograph: camera, projector, developing machine

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

- Lumiere Brothers invented the Cinematograph

- Lumiere Bros. (Auguste & Louis) early films contained no editing

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

- Lumiere Brothers invented the Cinematograph

- Lumiere Bros. (Auguste & Louis) early films contained no editing

- Single-shot recordings (sequence shots)

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

- Lumiere Brothers invented the Cinematograph

- Lumiere Bros. (Auguste & Louis) early films contained no editing

- Single-shot recordings (sequence shots)

- Lasted the duration of one roll of film (1-2 minutes)

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

- Lumiere Brothers invented the Cinematograph

- Lumiere Bros. (Auguste & Louis) early films contained no editing

- Single-shot recordings (sequence shots)

- Lasted the duration of one roll of film (1-2 minutes)

-The duration of the shots and the event were equal

George Melies created episodic films by connecting shots: cutting to continuity

George Melies created episodic films by connecting shots: cutting to continuity

- Editing and camera placement still based on live theatre

George Melies created episodic films by connecting shots: cutting to continuity

- Editing and camera placement still based on live theatre

- Camera is stationary, outside of the action

George Melies created episodic films by connecting shots: cutting to continuity

- Editing and camera placement still based on live theatre

- Camera is stationary, outside of the action

-Similar to curtain coming down and opening in a new location

“Continuity cutting tries to preserve the fluidity of an event without literally showing all of it” (Giannetti)

1903-Edwin S. Porter made Life of an American Fireman and The Great Train Robbery

1903-Edwin S. Porter made Life of an American Fireman and The Great Train Robbery

- Porter used editing to create parallel action

1903-Edwin S. Porter made Life of an AmericanFireman and The Great Train Robbery

- Porter used editing to create parallel action

- Shots are not linear - shot B does not pick up where shot A left off – linked instead by the continuity of an IDEA

The Great Train Robbery (1903), Edwin S. Porter

1915 “The Father of Filmmaking”- D. W. Griffith makes The Birth of a Nation

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting

-Editing within scene to vary dramatic intensity

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting

-Editing within scene to vary dramatic intensity

-Expand visual explanation-

1915 “The Father of Filmmaking” -D. W. Griffith makes The Birth of a Nation

-Classical cutting -Editing within scene to vary dramatic intensity

-Expand visual explanation--juxtaposing long shots,

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting -Editing within scene to vary dramatic intensity

-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc.

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting -Editing within scene to vary dramatic intensity

-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc. - varying the length of shots

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting -Editing within scene to vary dramatic intensity

-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc. - varying the length of shots -shifting the attention within a scene

CONTINUITY EDITING:

CONTINUITY EDITING:

Designed to make editing INVISIBLE

CONTINUITY EDITING:

Designed to make editing INVISIBLE

- cutting on action: action begins in one shot and ends in another

CONTINUITY EDITING:

Designed to make editing INVISIBLE

- cutting on action: action begins in one shot and ends in another

- cutting on dialogue: motivated by whoever is talking (or listening)

CONTINUITY EDITING:

Designed to make editing INVISIBLE

- cutting on action: action begins in one shot and ends in another

- cutting on dialogue: motivated by whoever is talking (or listening)

- cut on the glance: edit follows the eyes of a character

CONTINUITY EDITING:

Master shot: A long shot of the entire action without cuts.

CONTINUITY EDITING:

Master shot: A long shot of the entire action without cuts.

The action is then repeated a number to times using medium shots, close ups, etc.

CONTINUITY EDITING:

Master shot: A long shot of the entire action without cuts.

The action is then repeated a number to times using medium shots, close ups, etc.

Without a master shot editors many not have adequate footage

This end the 1st part of the editing lecture

• The slides after this will be covered in the second week of editing.

• The Russians *scene 6

Moscow Film School used film as propaganda

Moscow Film School used film as propaganda

Their editing style was in direct opposition to American classical cutting

Moscow Film School used film as propaganda

Their editing style was in direct opposition to American classical cutting

Soviets believed that the power was in the juxtaposition

Moscow Film School used film as propaganda

Their editing style was in direct opposition to American classical cutting

Soviets believed that the power was in the juxtaposition

Cuts called attention to themselves

Moscow Film School used film as propaganda

Their editing style was in direct opposition to American classical cutting

Soviets believed that the power was in the juxtaposition

Cuts called attention to themselves

The meaning was made in the edit

1920s- Lev Kuleshov, Soviet film theorist

1920s- Lev Kuleshov, Soviet film theorist

- Experimented with juxtaposition

1920s- Lev Kuleshov, Soviet film theorist

- Experimented with juxtaposition

- Shots cut together to create ideas not contained in either shot on its own

= meaning through editing

1920s- Lev Kuleshov, Soviet film theorist

- Experimented with juxtaposition

- Shots cut together to create ideas not contained in either shot on its own

= meaning through editing

MONTAGE EDITING

MONTAGE EDITING

Sergei Eisenstein

Sergei Eisenstein

- shots COLLIDE to make meaning

MONTAGE EDITING

Sergei Eisenstein

- shots COLLIDE to make meaning

-often fragmenting time and space

MONTAGE EDITING

Sergei Eisenstein

- shots COLLIDE to make meaning

-often fragmenting time and space

- montage calls attention to itself, unlike Continuity editing

-the contrast and conflict of images

Montage clip from Eisenstein’s STRIKE (1925):

SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES

SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES

- “MTV Generation” - grew up watching 30 second TV commercials, and rapidly-edited music videos

SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES

- “MTV Generation” - grew up watching 30 second TV commercials, and rapidly-edited music videos

- Shots often last a second or two (or less)

Tsotsi(2005)

Directed by Gavin Hood

Presley Chweneyagae .... Tsotsi