Michael Abalon Assignment # 8 Tesis (Thesis) Three Sequences I chose:

COM118-B99 Editing

1. The opening sequence (Train station incident). 2. When Angela and Chemo watches the snuff film she got for the first time. 3. The scene where Angela and Chemo were trapped in the place where the snuff footage were hidden. (Particularly the scene where theyre walking with matchsticks as their light source). Questions: 1. Isolate and observe the individual shots in a sequence. What, if anything, do these individual shots mean on their own, independent of their context to previous and subsequent shots? How does their meaning change in context with the other shots. 2. How would you describe the rhythm or tempo of the sequence or of the film as a whole? How does the editing contribute to this effect? 3. Do the filmmakers employ any alternatives to the cut, such as a fade, iris, or dissolve? If so, discuss how this effect works. 4. Can you discern any tonal or graphic relationships between the shots? 5. Identify the master shot in the sequence. How does that shot establish the spatial relationships in the scene? 6. Does the sequence use inserts, jump cuts, or TV-style editing to expressive effect? Answers: 1. Sequence 1 a. As the film opens, it shows a wide shot inside the train itself, the people were just cool as if nothing happened. If the operator of the train didnt said that theres this incident happened, I may think of it as a train malfunction or the train just stopped. But as the shots progress and having a shot of Angela being curious about what happened, it establishes that theres this man who jumped in the tracks. The rhythm may not be evident in this scene because it only consists of cuts to establish the dreadful scene that happened. Graphic relationships of the shots here were very obvious, as what I said, it establishes the event that happened in the sequence. The master shot for me is the tracking front shot of Angela, which clearly established the consecutive shots. The sequence didnt use such effects, just cuts and the narrative part to establish the scene. 2. Sequence 2 a. If Ill separate the shots from this sequence, it somehow establishes what the scene is all about even if the shots were separated. But if Ill take off the shot of the two watching the snuff film, I may think of it that the two were not watching a snuff film, just a violent film, but not the snuff film. But because of the close-up shot of the TV showing the footage of the snuff film, it establishes the sequence in which the two were really watching the snuff film. The fast cuts changing from the face of the victim from the snuff film and to Angela convey a rhythmic effect that contributes to its shock factor. The fade is used on the latter part of the film where Angela is the one being videotaped, from the

cameras viewfinder, it zooms closely and theres a fade transition from the viewfinder to reality. The master shot in this sequence is the wide shot of the two watching the snuff film where the scene was established because of the emotions conveyed by the two while watching the snuff film, and even though I take off the shot of the TV, it establishes the sequence that the two are watching a violent and disturbing film. 3. Sequence 3 a. The sequence where the two were walking in the dark with their remaining matchsticks is quite explanatory in my opinion. Even if I separate the shots, the shots were still establishing the scene because the whenever a matchstick goes out, for sure its a new shot for the filmmaker, and having the match as a transition effect (maybe a fade or dissolve). One shot in that scene used the match stick as a transition to a new shot, where the next shot shown was a spider web then the scene is back to the two again as they walk in to the dark hallway. The master shot in the sequence is of course the tracking front shot of the two as they walk. The scene was already established in the beginning of the sequence.