Editing

Introduction to the Art of Film

http://www.yout ube.com/watch ?v=HnmULadV WVs&NR=1

http://www.yo utube.com/w atch?v=s_Sp 59lQD7Q&fe ature=related

Old School Editing: http://www.youtu

be.com/watch?v= KcCmwkt-1g&feature=relate d

What is editing?
Which shot to use The most effective take of each shot The arrangement and duration of shots Transitions between shots Strongly affects viewer responses What do editors do:
http://www.youtube.com/watch?v=508MHvMGWEg&feature=Play List&p=9E71224916917E57&index=33 http://www.youtube.com/watch?v=lw7qqRtQgp0&feature=related

Major Concerns of Editing

Transition Line of sight/Matching Duration of shot: http://www.youtube.com/watch?v=SPK65x G3jFA&feature=related

The Cut
The break and common border that links two pieces of film and separates two shots Smooth cuts that add to continuity:

Shot/Reverse Shot
Two or more shots edited together that alternate characters, typically in a conversation situation. In continuity editing, characters in one framing usually look left, in the other framing, right. Over-the-shoulder framings are common in shot/reverse-shot editing. One of the most firmly established conventions in cinema, and they are usually linked through the equally persuasive eyeline matches. Can be exploited to make improbable meanings convincing, as in this sequence from The Stendhal Syndrome (La Sindrome di Stendhal, Italy,1996). Director Dario Argento has his protagonist Anna looking at Botticelli's The Birth of Venus (c1485)... ...but with the use of successive shot/ reverse shots, eyeline matches and matching framings, it soons begins to look as if Venus herself is looking at Anna!

Optical Effects for Transition

Fade outs Fade ins Dissolves: Iris in/out: Wipes:

Eyeline Match
A cut obeying the axis of action principle, in which the first shot shows a person off in one direction and the second shows a nearby space containing what he or she sees. If the person looks left, the following shot should imply that the looker is offscreen right. The following shots from Dario Argento's The Stendhal Syndrome (La Sindrome di Stendhal, Italy, 1996), depict Anna looking at a painting, Brueghel's The Fall of Icarus. The scene takes place inside Firenze's most famous museum, the Uffizi Gallery First we see her looking... then we see what she looks at

Graphic Match
Two successive shots joined so as to create a strong similarity of compositional elements (e.g., color, shape). Used in transparent continuity styles to smooth the transition between two shots, as in this clip from Women On The Verge Of A Nervous Breakdown (Mujeres al Borde de un Ataque de Nervios, Almodvar, 1988). Graphic matches can also be used to make metaphorical associations, as in Soviet Montage style. Furthermore, some directors like Ozu Yasujiro use graphic matches as an integral part of their film style.

Match 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. Quite logically, these characteristics make it one of the most common transitions in the continuity style. Here is an example from Traffic (Steven Soderbergh, 2000) Adds variety and dynamism to a scene, since it conveys two movements: the one that actually takes place on screen, and an implied one by the viewer, since her/his position is shifted.

Short History of Editing

Chronophotography: sequence of photographs of human or animal motion
Eadweard Muybridge: http://www.youtube.com/watch?v=Q8X0sHS0g 8A tienne-Jules Marey: http://www.youtube.com/watch?v=VxJr1faxtyc

Short History of Editing Edwin Porter

Credited with introducing editing techniques that are the basis for continuity editing The Great Train Robbery 1903 http://www.youtube.com/watch?v=_oeoi54t XEI&feature=related

Continuity Editing
Utilizes a broad array of technical choices that support the principle of effacing technique to foreground human agency or clarify the narrative. HuH? In other words, continuity editing is invisible and seamless. It allows us to follow the point of view of the camera without interruption.

Continuity Editing
Relies upon matching screen direction, position, and temporal relations from shot to shot. The film supports the viewer's assumption that space and time are contiguous between successive shots. Also, the diegesis is more readily understood when directions on the screen match directions in the world of the film.

Crosscutting (parallel editing)

Alternates shots of two or more lines of action occurring in different places, usually simultaneously. The two actions are therefore linked, associating the characters from both lines of action. Edward Yang's Yi Yi (Taiwan, 2000), father and daughter

Cut-In/Cut-Away
An instantaneous shift from a distant framing to a closer view of some portion of the same space, and vice versa. In Lars Von Trier's Dancer in the Dark (Denmark, 2000) Selma and Bill have a dramatic conversation in Bill's car that is framed by a cut-in and a cut-away. The two cuts neatly bracket Bill's anguished confession as a separate moment, private and isolated, that only Selma knows about. This editing-constructed secrecy will ultimately have drastic consequences for Selma.

Montage
Soviet Montage proved to be influential around the world for commercial as well as avant-garde filmmakers. We can see echoes of this in The Godfather (Francis Ford Coppola, USA, 1973). In a famous sequence from the film, shots of Michael attending his son's baptism are intercut with the brutal killings of his rivals. The montage suggests Michael's dual nature and commitment to both his "families", as well as his ability to gain acceptance into both on their own terms -- through religion and violence.

Patterns and Logic of Editing

Continuity editing vs. disjunctive editing 180-degree rule & axis of action: http://www.youtube.com/watch?v=Hdyyuq mCW14&feature=related 30-degree rule: a shot should only be followed by another shot taken from a position greater than 30 degrees from that of the first

Continuity Editing
Shot/reverse shot An eyeline match Point of view shot Reaction shot Cutaway http://www.youtube.com/watch?v=fWcw70Wl 2Y4

Temporal Relations
Chronology is the order according to which shots convey the temporal sequence of the storys events
Chronologicalcreated by linear patterns Achronologicalcreated by non-linear patterns

A take: a single version of a filmed shot or scene

Short takes Long takes:
Robert Altmans The Player (8 min) http://www.youtube.com/watch?v=0epB5Z6ijpk Orson Welles Touch of Evil: http://www.youtube.com/watch?v=Yg8MqjoFvy4

Sequence shots

Overlapping editing: when 2 shots of the same action are shownviolates continuity

Elliptical Editing
Shot transitions that omit parts of an event, causing an ellipses in plot and story duration. In this clip from Traffic (Steven Soderbergh, 2000), a drug party is rendered through elliptical editing (achieved with a plentiful use of dissolves and jump cuts) in order to both shorten the time and suggest the character's rambling mental states.

Elliptical Editing
Elliptical editing need not be confined to a same place and time. NottinghillAint No Sunshine: http://www.youtube.com/watch?v=tlP89pMc 3UM

Editing from scene to scene

A scene consists of one or more shots that can be described in terms of a continuous space, time and action A sequence consists of any number of shots that are unified as a coherent action, such as a walk to school, or as an identifiable motif, such as the expression of anger, regardless of changes of space and time A segment refers to the filmic units that can be combined to make a whole film

Disjunctive Editing
Refers not to a single editing system with rules and manuals like Hollywood continuity editing, but rather to a variety of alternative practices that may be organized around any number of different aspects of editing
Spatial tension Temporal experimentation Rhythmic or graphic patterns Confront the viewer by calling attention to the editing for aesthetic, conceptual, ideological or psychological purposes, or working to disorient, disturb or viscerally affect the viewer

A Quick Review
http://www.youtube.com/watch?v=d1japIhK U9I&feature=related

Credits
Corrigan, Timothy. The Film Experience Yale Film Studies: http://classes.yale.edu/filmanalysis/htmfiles/cinematography.htm