editing: essence of filmic narration özge / advance interactive narrations / 6 nov 2006
TRANSCRIPT
Editing: Essence of Filmic Narration
özge / advance interactive narrations / 6 nov 2006
Tom Gunning’s
D.W. Griffith and the Origins of American Narrative Film
D. W. Griffith: master of the syntax of film narration
• New elements Griffith introduces:• The full shot• The medium shot• The close-up• The pan shot• The moving camera• The spot-iris• The mask• The fade• +Soviet films on Montage
Discovery of paper prints.
They are for copyrights.
• development of narrative form in relation to film history
• limitations of the study 1908-1909
From “cinema of attractions” to a narrative form
magic ---------------------> dramatic expression
Melies Griffith
• comics (split screens) has more impact on film in comparison to theater.
• impact of vaudeville Winsor McCay
• “essential nature of film have often focused on editing” (p.21)
• Who has more agency on the film director or editor?
Kubrick’s Shining Trailer
Tagline: A Masterpiece Of Modern Horror
The original trailer:
• http://www.movie-list.net/classics/shining.mov
A remake of it:
• http://www.ps260.com/molly/SHINING%20FINAL.mov
Editing: Coordination of one shot with the next.
Dimensions of Film Editing
• Graphic Relations
• Rhythmic
• Spatial
• Temporal
• Dissolve
• Fade out
• Fade in
• Wipe
• Cut
• Graphic Match
Dissolve: superimposes end of shot A and beginning of shot B
What are the implications of dissolve?
• Fade out: gradually darkens the end of a shot to the black
• What does fade out effect imply if it is fading to white? SFU
• to black?
• Fade in: lightens a shot from black
• Wipe: shot B replaces shot A by means of a boundary line moving across the screen
• Graphic Match: linking the shots by graphic similarities.
• Smooth continuity
• Abrupt contrast
• Kubrick’s 2001 Space Odyssey
• Caro’s Alien 4 Resurrection
• Continuity Editing: Editing for invisible narration.
[Continuity Editing contains a very narrow set of editing possibilities.]
• Jump Cut: When two shots of two subject are cut together but are not sufficiently different in camera distance and angle, then there will be a noticeable jump on the screen.
• Godard’s Breathless
• Allen’s Deconstructing Harry
Terror, Iraq, Weapons
http://www.youtube.com/watch?v=KUaEtf1s23w
Continuity Editing• Aim: Using editing for
invisible narration• 180 degree rule• Avoiding Continuity
Mistakes. (Costume, cigarettes, position of objects etc…)
• Cut with Movement
Intellectual Montage• Aim: Using editing as
a tool for making meaning.
• Jump Cuts• Non-diegetic inserts• Collage like quality• Rhythmic-Fast
180 degree rule for continuity editing:
• Discontinuity can also be created by the non-diegetic insert
• Kuleshov Effect:
• Kuleshov Effect:Kuleshov edited a short film in which shots of the face of a man are alternated with various other shots (a plate of soup, a girl, a child's coffin).
Intellectual-Visible Montage
• The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema,
• Sergei Eisenstein, • Vsevolod Pudovkin• Dziga Vertov,
• Battleship Potemkin, October, Mother, The End of St Petersburg, and The Man with a Movie Camera.
Editing -Time
• Parallel Editing: The shots of the sequences which are given parallel belong to the same slice of time.
• Events actions happening in these different spaces are simultaneous.
• Silence of the Lambs
Temporal Discontinuity
• Flashback
• Flashforward
• Ellipsis: Psychological closure, difference between story-plot times
1. How long is the duration subtracted by ellipsis?
2. Whether that ellipsis is filled or not?
3. Is it obvious; does the director want us to notice it or not
4. If it is filled later, what is the function of it?