The Art of Editing #2 Jan 24

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Information about The Art of Editing #2 Jan 24
Education

Published on January 23, 2014

Author: shannondawnwalsh

Source: slideshare.net

Description

This week we look at some of the basic concepts that developed the language and grammar of film editing. We spend a bit of time talking about Sergei Eisenstein and his theories around editing, and some of the innovations and experiments that were happening in the early period of film history.

The second half of the lecture we learn about technical aspects of Continuity Editing.

CLASS 2 THE ART OF EDITING CONTINUITY EDITING SHANNON WALSH / SM2002 / SPRING 2014 SCHOOL OF CREAT IVE MEDIA, CIT Y UNIVERSIT Y HONG KONG

BASIC TRANSITIONS The basic 4 edits: • Cut • Dissolve • Wipe • Fade

THE KULESHOV EFFECT Film is editing.

THEORY OF MONTAGE: SERGEI EISENSTEIN Metric montage: the length of the shots relative to one another. Rhythmic montage: continuity arising from the visual pattern within the shots. Tonal montage: the editing decisions made to establish the emotional character of a scene. Over tonal montage: the interplay of metric, rhythmic, and tonal montages Intellectual montage: the introduction of ideas into a highly charged and emotional sequence

“ODESSA STEPS” SEQUENCE The power of the cut, rhythm, juxtaposition, parallel action and montage.

HISTORY OF EDITING II REBELS INNOVATION & EXPERIMENTATION

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 • Many, if not all, editing techniques used http://www.youtube.com/watch?v=Y1fxbcgptFA

EXPERIMENTS IN CINEMA: LUIS BUNUEL “Un Chien Andalou” 17min,(1929) • Destroys meaning, shock • Surrealism, expressionism, psycho analysis • Visual discontinuity: continuity editing, but discontinuity in the story plot and character goal http://youtu.be/_DZ1x-xBtUM

INNOVATIONS IN CINEMA: CHINA & JAPAN Yasujiro Ozu & Kenji Mizoguchi Ruan Lingyu 1910- 1935

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:

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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