Editing Styles
Enumerate and define editing styles.
a) sequence shot - contains no editing at all b) cutting to continuity – merely condenses the time and space of a completed action c) classical cutting – interprets an action by emphasizing certain details over others d) thematic montage – argues a thesis – the shots are connected in a relatively subjective manner e) abstract cutting – is a purely formalistic style, totally divorced from any recognizable subject matter
1. The correlation between film styles and types of editing.
a) The arrival of a train – several different sequences but not much cutting within a sequence b) A trip to the moon – narrative segments connected by fade-out; the next scene fades in often in a different location and time c) The birth of a nation – lat-minute rescue scene d) Thirty-two short films about Glenn Gould - e) Rhythmus 21
2. Editing conventions of classical cutting which make cutting “invisible".
a) eyline match – the matching of eyelines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity.
b) matching action – idea of keeping the action fluid, to mask the cut with a smooth linkage that’s not noticed because the motion of the character takes priority
c) 180˚rule – its purpose is to stabilize the space of playing area so the watcher isn’t confused
d) paralel editing – the alternation of shots of one scene with another at a different location
3. Arguments used by realists against intrusive editing. (example: Huston’s “African Queen” )
- editing could actually destroy the effectiveness of a scene - distortions involved in using formalist techniques – especially thematic editing – often violate the complexities of reality - classical cutting breaks down a unified scene into a certain number of closer
a) sequence shot - contains no editing at all b) cutting to continuity – merely condenses the time and space of a completed action c) classical cutting – interprets an action by emphasizing certain details over others d) thematic montage – argues a thesis – the shots are connected in a relatively subjective manner e) abstract cutting – is a purely formalistic style, totally divorced from any recognizable subject matter
1. The correlation between film styles and types of editing.
a) The arrival of a train – several different sequences but not much cutting within a sequence b) A trip to the moon – narrative segments connected by fade-out; the next scene fades in often in a different location and time c) The birth of a nation – lat-minute rescue scene d) Thirty-two short films about Glenn Gould - e) Rhythmus 21
2. Editing conventions of classical cutting which make cutting “invisible".
a) eyline match – the matching of eyelines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity.
b) matching action – idea of keeping the action fluid, to mask the cut with a smooth linkage that’s not noticed because the motion of the character takes priority
c) 180˚rule – its purpose is to stabilize the space of playing area so the watcher isn’t confused
d) paralel editing – the alternation of shots of one scene with another at a different location
3. Arguments used by realists against intrusive editing. (example: Huston’s “African Queen” )
- editing could actually destroy the effectiveness of a scene - distortions involved in using formalist techniques – especially thematic editing – often violate the complexities of reality - classical cutting breaks down a unified scene into a certain number of closer