Editing: the coordination between one shot with the next frames can be joined by several different types. Fade-out: gradually darkens the end of a shot to black.
Fade-in beginning of a framel lightens the frame from black
Dissolve: briefly superimposes the end of a shot A and the beginning of shot B Wipe: Shot A replaces Shot B by means of a boundary line line moving across the screen, wipes one image away while bringing about a new one. Cut: the most common means of joining two shots; instantaneous change from one shot to another
Editing lets the film maker play with four different aspects: Graphic relations between shot A and shot B, Rhythmic relations between shot A and shot B, Spatial relations between shot A and shot B, and Temporal relations between shot A and shot B. Editing need not be graphically continuous
Graphic match: links shots by graphic similarities, shapes, colors, overall composition or movement in shot A may be picked up in the composition of shot B
When the filmmaker adjusts the length of shots in relation to one another, she or he is controlling the rhythmic potential of editing.
Editing usually serves not only to control graphics and rhythm but also to construct film in space.
Kuleshov Effect: any series of shots that in the absence of an establishing shot prompts the spectator to infer a spatial whole on the basis of seeing only portions of the space. Editing cues to the spectator to infer a single locale.
Editing can also emphasize action taking place in separate places; ie cuts from one setting and time to another, this is parallel editing known as crosscutting, common way films construct a variety of spaces.
First there is order/presentation of events, editing can control temporal succession in a film, Citizen Kane, series of flashback cut back to present.
Flashbacks: presents one or more shots out of their presumed story...
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