Download - Lesson 4: Editing Professor Aaron Baker.

Transcript
Page 1: Lesson 4: Editing Professor Aaron Baker.

Lesson 4Lesson 4:EditingEditing

Professor Aaron Baker

Page 2: Lesson 4: Editing Professor Aaron Baker.

Previous LecturePrevious Lecture

• Mise-en-Scene• Narrative Function

in Smoke Signals (1998)

2

Page 3: Lesson 4: Editing Professor Aaron Baker.

3

This Lecture This Lecture

• Editing• Continuity and

Discontinuity in The Limey (1999)

Page 4: Lesson 4: Editing Professor Aaron Baker.

Part I: EditingPart I: Editing

4

Page 5: Lesson 4: Editing Professor Aaron Baker.

Editing Editing • Coordinating One

Shot with Next• Most Analyzed

Aspect Film Form• First Films Just

One Shot• Now Hollywood

Films 1-3 K5

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.

Page 6: Lesson 4: Editing Professor Aaron Baker.

6

Ways to EditWays to Edit

• In-Camera• Storyboarding• Editing Table• Now Computerized• Final Cut Back on

Negative

Page 7: Lesson 4: Editing Professor Aaron Baker.

Shot RelationsShot Relations

Four Principles by Which to Connect Shots:

• Graphic - Composition• Rhythmic - Length• Spatial - Build Space• Temporal Relations - Define Time

7

Page 8: Lesson 4: Editing Professor Aaron Baker.

Graphic EditingGraphic Editing

• Continuity • Contrast• Pictorial Content• Movement/Stasis

8

Page 9: Lesson 4: Editing Professor Aaron Baker.

RhythmicRhythmic• Temporal Length of

Shot• Long Shots –

contemplative • Short Shots –

energy• ASL in Hollywood

Now: Few Seconds 9

Page 10: Lesson 4: Editing Professor Aaron Baker.

Spatial RelationsSpatial Relations

• Editing Can Create Story Space

• Spaces Juxtaposed to Suggest Contiguous

10

Page 11: Lesson 4: Editing Professor Aaron Baker.

CrosscuttingCrosscutting

• Parallel Editing • We See Simultaneous Actions in Different

Spaces• Spaces Linked• Cause and Effect Relationship Between Actions in Two Places

11

Page 12: Lesson 4: Editing Professor Aaron Baker.

Crosscutting (continued)Crosscutting (continued)

• Unrestricted Range of Knowledge

• Please watch the clip to see e.g. of crosscutting in Syriana (2005).

12

Page 13: Lesson 4: Editing Professor Aaron Baker.

Four Spaces ParalleledFour Spaces Paralleled

Editing Here Connects Four Spaces:

• Convoy• CIA• Oil Execs at Banquet• Clooney Character

13

Page 14: Lesson 4: Editing Professor Aaron Baker.

Editing and Time Editing and Time

• Controls Time of Story• Supports Plot’s Manipulation of

Story• Determines Order, Duration, Frequency of Story Actions

14

Page 15: Lesson 4: Editing Professor Aaron Baker.

Part II:Part II:Continuity and Discontinuity Continuity and Discontinuity

Editing in Editing in The LimeyThe Limey

15

Page 16: Lesson 4: Editing Professor Aaron Baker.

OrderOrder• Usually Chronological• Flashbacks• Flashforwards• Please watch a clip

from The Limey.• Back and Forth in

Conversation, Plane, Gun, Warehouse

Page 17: Lesson 4: Editing Professor Aaron Baker.

MemoryMemory• Present Tense: Wilson in LA for Revenge• Flashbacks to Memories: Plane, Jenny as

Girl, When She Confronted Drug Smugglers

• His Motivation

17

Page 18: Lesson 4: Editing Professor Aaron Baker.

RevengeRevenge• Flashforwards

Show What Wilson Wants

• Hint at Why Won’t Satisfy

• Violent Future Can’t Change Past Failed Relationship

Page 19: Lesson 4: Editing Professor Aaron Baker.

E.g. Editing Often EllipticalE.g. Editing Often Elliptical

• Events Shown With Less Screen Time Than in Story

• Less Important Events Omitted By Plot

19

Page 20: Lesson 4: Editing Professor Aaron Baker.

Overlapping Editing Overlapping Editing • Repeating an Action to Expand Story Time• Lends Emphasis• Please watch a clip from Do the Right Thing

(1989)• Important Action: Can Hits Window Twice

20

Page 21: Lesson 4: Editing Professor Aaron Baker.

Continuity EditingContinuity Editing

• Dominant in Hollywood Film

• Certain Rhythms: Long Shots Longer than Close Ups

• Main Objective: Clear Space and Time to Tell Story

21

Page 22: Lesson 4: Editing Professor Aaron Baker.

Continuity TransitionsContinuity Transitions

Move Story Forward, Demphasize Editing:• 180 Degree Rule• Match on Action• Eyeline Match• Shot/Reverse Shot

22

Page 23: Lesson 4: Editing Professor Aaron Baker.

23

Other TransitionsOther Transitions

• Fade out/in• Dissolve • Time Passing• Wipe • Iris • Straight Cut• Still Aide Story

Less Invisible

Page 24: Lesson 4: Editing Professor Aaron Baker.

More Continuity DevicesMore Continuity Devices

• Establishing Shot – Whole Narrative Space

• Breakdown (Coverage) – Closer Views

• Restablishment Shot – New Character, Action

24

Page 25: Lesson 4: Editing Professor Aaron Baker.

Such Analytical Cutting Such Analytical Cutting

• Directs Our Attention • Emphasizes Dialogue, Reaction, Cause and Effect • Create Narrative Continuity

25

Page 26: Lesson 4: Editing Professor Aaron Baker.

The LimeyThe Limey

• Please watch a clip from The Limey that illustrates analytical editing.

• In this scene, Wilson hunts Valentine down in his Big Sur house.

26

Page 27: Lesson 4: Editing Professor Aaron Baker.

Establishing ShotEstablishing Shot

• Of driveway • Followed by closer

shots in house• Gunfight• Restablishing shots

as Valentine escapes house, Wilson follows

27

Page 28: Lesson 4: Editing Professor Aaron Baker.

Intensified ContinuityIntensified Continuity

• 1930-60 Classical Continuity Style

• 300-500 Shots• Now 1-3 K• New Continuity to

Match New Pace

28

Page 29: Lesson 4: Editing Professor Aaron Baker.

Contemporary EditingContemporary Editing

• More Close Ups (CUs)• Closer Framing Easier to Understand

When Shots are Short• Mobile Camera

29

Page 30: Lesson 4: Editing Professor Aaron Baker.

1960- Present1960- Present Films Seen on TV Films Seen on TV

• Faster Editing, Moving Camera Energize Smaller Image

• Holds Viewer Attention in Era of Distraction

• CUs Present More on Smaller Screen

30

Page 31: Lesson 4: Editing Professor Aaron Baker.

Discontinuity Editing Discontinuity Editing

• Connections Not Obvious, Invisible

• Viewer Interprets Assigns Temporal,

Spatial, Causal Relations

Between Shots 31

Page 32: Lesson 4: Editing Professor Aaron Baker.

Discontinuity DevicesDiscontinuity Devices• Jump Cut: Transition from one shot

to next “jumps” on screen• Makes viewer aware of

editing• What is filmmaker

presenting in these shots?

32

Page 33: Lesson 4: Editing Professor Aaron Baker.

Discontinuity in Discontinuity in The Limey The Limey

• Please rewatch the first part of the clip we saw earlier from The Limey.

• Jump Cuts as Eduardo and Wilson Talk

33

Page 34: Lesson 4: Editing Professor Aaron Baker.

Discussion QuestionsDiscussion Questions

• Why these jump cuts?• Asking Us to Evaluate Characters? • Post a response on the eBoard to these

questions and the comment of a colleague.

34

Page 35: Lesson 4: Editing Professor Aaron Baker.

Summary Summary

• Editing• Continuity and

Discontinuity• The Limey (1999)

35

Page 36: Lesson 4: Editing Professor Aaron Baker.

Next Lecture: Cinematography36

End of Lecture 4End of Lecture 4