film language - editing

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How could you organise these photos to tell a story?

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Page 1: film language - editing

How could you organise these photos to tell a story?

Page 2: film language - editing
Page 3: film language - editing
Page 4: film language - editing

“Editing is the basic creative force, by power of which the soulless

photographs (the separate shots) are engineered into living, cinematic

form.”

V.I.Pudovkindirector

To be able to understand the way meaning is created through editing.

Page 5: film language - editing

Learning ObjectivesTo be able to understand the way meaning is created through editing.

Level 2 D/EBasic use of editing so that meaning is apparent to the viewer.Basic selection and use of shot transitions and other effects.

Level 3 B/CProficient use of editing so that meaning is apparent to the viewer.Proficient selection and use of shot transitions and other effects.

Level 4 AExcellent use of editing so that meaning is apparent to the viewer.Excellent selection and use of shot transitions and other effects.

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Cuts• Straight cut• Fade in/out• Dissolve• Wipe

To be able to understand the way meaning is created through editing.

Page 7: film language - editing

Graphic RelationsEditing together any two shots permits the interaction, through similarity

or difference, of the purely pictorial qualities of those two shots.

Every shot provides possibiities for purely graphic editing through…• Lighting• Setting• Costume• Actors• Framing• Camera Mobility

Graphics may be edited to achieve smooth continuity or abrupt contrast.Shots linked by graphic similarities are called a graphic match.

Shapes, colours, overall composition or movement in shot A may be picked up in the composition of shot B.

To be able to understand the way meaning is created through editing.

Page 8: film language - editing

Here there is a close match on both shape and colour, easing the audience across both space and time.

To be able to understand the way meaning is created through editing.

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In this shot the action provides the match, as well as the shape of the two objects.

Note that there is a marked difference in colour.

To be able to understand the way meaning is created through editing.

Page 11: film language - editing

Rhythmic RelationsFilm speed = 24 frames per second

A shot can be as short as a single frame or it may be a thousand frames long, lasting for many minutes. When a filmmaker adjusts the length of shots in relation to one another, she or he is controlling the rhythmic

potential of editing.

A steady beat can be established by making all of the shots approximately the same length. The filmmaker can also create a dynamic pace.

Lengthening shots can gradually slow the tempo, while successively shorter shots can accelerate it.

To be able to understand the way meaning is created through editing.

Page 12: film language - editing

The Kuleshov EffectIn 1918 a Russian filmmaker, Lev Kuleshov,

experimented with montage by editing together shots of an actor’s face with a shot of some food, a

shot of a dead woman and a shot of a child. Although the actor’s expression never changed, the audience said that he first looked hungry, then sad and then

affectionate.

“What happens between shots happens between your ears”www.davidbordwell.net/blog/?p=1861

To be able to understand the way meaning is created through editing.

Page 13: film language - editing

Spatial RelationsEditing permits the filmmaker to juxtapose any two points in space and

thus imply some kind of relationship between them.

The director might star with a shot that establishes a spatial whole and follow this with a part of this space. Alternatively they could construct a

whole space out of component parts.

In The Godfather, Francis Ford Coppola uses crosscutting to juxtapose Michael Corleone’s denouncement of the devil with the murders he has ordered, linking different spaces with one character’s intent.

To be able to understand the way meaning is created through editing.

Page 14: film language - editing

Temporal RelationsEditing can control the time of the action denoted in the film and

contributes to the plot’s manipulation of story time.

Elliptical Editing:A dissolve, wipe or fade can indicate that time has been omitted. It can also be done with straight cuts or cutaways.

To be able to understand the way meaning is created through editing.

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Temporal RelationsIt is also possible to expand story time. If the action from one shot is repeated at the beginning of the next, we have overlapping editing.

To be able to understand the way meaning is created through editing.

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• Crossing the 180 degree line (Psycho Alfred Hitchcock, 1960)

• Assembly Editing (Psycho Alfred Hitchcock, 1960)

• The Long Take (Goodfellas Martin scorcese, 1978 and Touch of Evil Orson Welles, 1943)

• Split Screen (Kill Bill Vol. 1 Quentin Tarantino, 2005)

Alternatives

To be able to understand the way meaning is created through editing.