Be able to define editing
• Basic creative force of cinema; is the process by which the editor combines and coordinates individual shots into cinematic whole.
• A fundamental assumption behind all the film editing is the tendency of viewers to interpret shots in relation to surrounding shots.
Be able to identify the basic building block of editing
• Shot - uninterrupted shot of the camera.
Be able to identify the techniques used for the actual joining together of two shots
• Cutting and splicing
Be able to define continuity editing vs. discontinuity and understand the difference between them
• Continuity editing - What happens on the screen makes as much narrative sense as possible. Screen direction and consistent from shot to shot. Referred as invisible editing because it flows so smoothly that we are not distracted by the cuts.
• Discontinuity - "Fast pace disruptive feel" Editing that calls attention to itself. "Non - Chronological"
Be able to identify the most fundamental assumption behind all film editing about how shots are interpreted
• Cut - editing most fundamental tool. "Pair 2 segments; ordering the shots"
**** Every shot has multiple meanings depending on what you pair/surround it with.
Be able to compare the effects of mise-en-scene vs. dialogue vs. editing
• Mis-en-scene - Staging of a scene. Something you see
• Dialogue - Something you hear
• Editing - Something that you feel (race and rhythm of a story)
Be able to identify how knowing what action occurs in a scene, how the scene has been photographed, and what editing pattern holds the shots together affects our understanding of any movie
All she said about this is that it would be a T or F question
• TRUE of FALSE. To understand the editing of any movie, we need to know what action occurs in the scene, how the scene has been photographed, and what editing pattern holds the shots together. TRUE
Be able to identify how long the average movie today runs, and about how many shots compose average- length films today
• Average length of movie is 2 hours
• 2 hour movie = 2,000 shots
Be able to define an editor's responsibilities in managing the final aspects of a film
• Spatial relation between shots - Dealing with physical space we can see on screen
• Temporal relation between shots - Dealing with time. Length of shots
• Overall rhythm of film
Be able to describe the central discovery of the Kuleshov effect
• A shots two explicit values: what is within the shot and how the shot is situated
Be able to describe the effects of editing in the minds of viewers
One of the most powerful effects of editing is that sometimes it creates a sense of space in the viewer's mind that may not exist in real life. Establish overall sense of space.
Be able to identify what is the most desirable effect of editing in contemporary narrative movies
We want editing styles to be inconspicuous----not to stand out
Be able to define and describe the 180 degree rule and its purpose in the filming process
• Helps create continuity by making sure that the objects and characters are always going to be on the same side. Also called "Axis of action"
Be able to define a jump-cut
Jumping ahead in time. Gives you feel of instantaneous advance.
Be able to define a dissolve
Also called lap dissolve. Transitional device in which 1 shot superimposed over another gradually started appearing and starts replacing the other shot it midway through the process.