Editing Part One and Two

Editing

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


MID 1890s


MID 1890s - Lumiere Brothers invented the Cinematograph

Lumiere Bros. Cinematograph: camera, projector, developing machine


MID 1890s

- Lumiere Brothers invented the Cinematograph

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


MID 1890s



- Single-shot recordings (sequence shots)


MID 1890s




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


MID 1890s




- 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


- Editing and camera placement still based on live theatre



- Camera is stationary, outside of the action



- 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


-Classical cutting

-Editing within scene to vary dramatic intensity


-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,



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



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



-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:


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

CONTINUITY EDITING:



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

CONTINUITY EDITING:



- 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:


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

CONTINUITY EDITING:


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


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




Cuts called attention to themselves

The meaning was made in the edit

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



- 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


-often fragmenting time and space

MONTAGE EDITING

Sergei Eisenstein


-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


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


- “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

Editing Part One and Two

Education

Transcript of Editing Part One and Two