Published on January 10, 2014
CLASS 2 THE ART OF EDITING CONTINUITY EDITING SHANNON WALSH / SM2002 / SPRING 2014 SCHOOL OF CREAT IVE MEDIA, CIT Y UNIVERSIT Y HONG KONG
HISTORY OF EDITING II INNOVATION & EXPERIMENTATION
THE KULESHOV EFFECT Film is editing.
THEORY OF MONTAGE: SERGEI EISENSTEIN • Metric montage • Rhythmic montage • Tonal montage • Over tonal montage • Intellectual montage
“ODESSA STEPS” SEQUENCE The power of the cut, rhythm, juxtaposition, parallel action and montage.
EXPERIMENTS IN CINEMA: DZIGA VERTOV “The Man with the Movie Camera” (1929) • Vertov reminds viewers that cinema is not reality • Special effects and fantasy • Playful clash of reality and illusion • Visual associations http://youtu.be/Iey9YIbra2U
EXPERIMENTS IN CINEMA: LUIS BUNUEL “Un Chien Andalou” 17min,(1929) • Destroys meaning, shock • Surrealism, expressionism, psychoanalysis • Visual discontinuity: continuity editing, but discontinuity in the story plot and character goal http://youtu.be/_DZ1x-xBtUM
EXPERIMENTS IN CINEMA: SOUND TIME PLACE M, Fritz Lang (1931)
Modern Times Chaplin (1936)
BASIC TRANSITIONS The basic 4 edits: • Cut • Dissolve • Wipe • Fade
ACTION CONTINUITY: ASSIGNMENT #1 In the first assignment you will learn techniques of action continuity. 1. Match on action 2. Shot/Reverse-shot 3. 180 degree rule
ACTION CONTINUITY: MATCH ON ACTION “Match on Action” is when you cut to a new camera angle at the same point in time without breaking the flow of the previous shot.
ACTION CONTINUITY: SHOT/REVERSE SHOT “Two shots edited together that alternate the characters, typically in a conversation situation.”
ACTION CONTINUITY: SHOT/REVERSE SHOT
ACTION CONTINUITY: SHOT/REVERSE SHOT
EXAMPLES SHOT/REVERSE SHOT Editor Thelma Shoonmaker on Raging Bull (1980): http://www.youtube.com/watch?v=6enMrxbpI-w Dirty Harry (1971) “Do you feel lucky?” Unlike most shot reverse shots this isn’t over the shoulder. http://www.youtube.com/watch?v=8Xjr2hnOHiM
ACTION CONTINUITY: 180 DEGREE RULE
180 DEGREE RULE
ACTION CONTINUITY: IMAGE SIZE FOR CUTTING
LONG TO MEDIUM SHOT
MEDIUM TO CLOSE-UP
THE RULE OF 6: WALTER MURCH 1) Emotion 2) Story 3) Rhythm 4) Eye‐trace 5) Two‐dimensional plane of screen 6) Three‐dimensional space of action For Murch, an ideal cut, • • • • • • Is true to the emotion of the moment; Advances the story; Is rhythmically interesting and “right”; Acknowledges the “eye-trace”; Respects “planarity”; Respects the three-dimensions continuity of the actual space. But, he says, emotion “is the thing that you should try to preserve at all costs.” Murch, W. In the blink of an eye: A perspective on film editing. SilmanJames Press, 1995, pp. 17-20 51% 23% 10% 7% 5% 4%
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