SP 472 American Film History, Week 5
-
Upload
eileen-white -
Category
Documents
-
view
216 -
download
0
Transcript of SP 472 American Film History, Week 5
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 1/24
Editing Why do we edit?
± Cuts
± Time
± Space
± Rhythm
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 2/24
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
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 3/24
Editing
Right
Wrong
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 4/24
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
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 5/24
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 6/24
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 7/24
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 8/24
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 9/24
Editing Shot/Reverse Shot
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 10/24
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.
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 11/24
Editing
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 12/24
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.
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 13/24
Editing
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 14/24
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
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 15/24
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
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 16/24
Editing Graphic Match
± Two successive shots
joined so as to create a
strong similarity of
compositional elements
(e.g., color, shape).
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 17/24
Editing Overlapping Editing
± Cuts that repeat part or
all of an action, thus
expanding its viewing
time and plot duration
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 18/24
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.
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 19/24
N orth by N orthw est
Crop Duster Scene
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 20/24
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 21/24
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 22/24
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 23/24
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
8/2/2019 SP 472 American Film History, Week 5
http://slidepdf.com/reader/full/sp-472-american-film-history-week-5 24/24
Editing Mise en Scene ± red color
values = danger
Twyker is a big fan of
Hitchcock¶s V ertigo thus all thered & stairs«