EDITING PATTERNS
Comprehension Quiz
Lawrence of Arabia (1962)
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MATCH CUT – match on action: entering
through door
GRAPHIC MATCH – from the flame of the
match to the rising sun in the desert; shots
linked metaphorically
CUT IN – instantaneous shift from medium shot
to a extreme close up of character
DISSOLVE – between desert landscapes
180-DEGREE RULE – characters remain in
relative position to each other
Lawrence of Arabia (1962)
COMMENTARY
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The conversation between the two men is edited
sparingly with only one cut (from long to medium shot);
the camera remains perpendicular to the 180-degree
line with the action appearing as if from a 3rd person's
perspective
The graphic match cut between the match flame going
out and sun rising in the desert is a transition,
signifying the end of something and the start of
something new – an adventure?
Establishing shots of the desert are extended in length
2001: A Space Odyssey (1968)
REACTION: close up of ape's face as
he smashes up the remaining bones
 CUT IN: shifting to close up of ape's
arm, using bone as a tool to smash
the remains of the boar
 CUT AWAY: shifting to an establishing
shot of the barren landscape
 PARALLEL: shifting across time, to
the falling boar
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2001: A Space Odyssey (1968)
COMMENTARY
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There are no typical match cuts in this scene,
all of the cuts are obvious and very intentional
to creating a sense of discovery and triumph
The cut between the bone and spacecraft is an
iconic graphic match; drawing meaningful
connection between the discovery of bone as a
tool and the more advanced technology of the
spacecraft that humans have achieved –
transitioning between scenes
The “slo-mo” gives a heroic sense to the scene
Breathless (1960)
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JUMP CUT : appearing discontinuity between cuts,
repeated:
a. driver in car, b. car
chase, c. gun in hand
EYELINE MATCH : driver looking off screen through
car window, cut to the view through the window of sun
shining through trees;
b. cut to driver looking to road, to see approaching
police on motorbike
CUT IN : a. to close up of car exterior,
b. to driver with gun in hand
CUT AWAY : a. to views of action outside car,
b. to action of police on motorbikes, on road
REACTION SHOT : police officer falling, shot down
Breathless (1960)
COMMENTARY
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No typical match cuts in the scene, most cuts
seem disconnected, drawing attention to editing
Jump cuts create a abrupt discontinuity in the
scene, the action appears sporadic
The fast cutting between a variety of cut ins and
cut aways appears frantic; an effective way to
create a psychological sense of the car chase,
disorienting, as action happens quickly
Citizen Kane (1941)
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MATCH CUT: several of angles to present
speaker at podium
SHOT / REVERSE SHOT : between speaker
and audience
REACTION SHOT : a. of Kane's son in
audience, b. receptive audience members
CUT AWAY : showing point of view of the man
in the balcony, establishing shot of speech room
DISSOLVE : transition between shots to
emphasize the face of Kane, on poster over
stage
Citizen Kane (1941)
COMMENTARY
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The majority of the edits in this scene are shot /
reverse shots and/or reaction shots between the
speaker and audience members. The shots of
the speaker are much longer than the reactions
of the audience members.
The cut away at the end of the scene allows
another perspective of the setting, reinforcing the
sense of grandeur; from the viewpoint of a
character who seems not as involved but is able
to have a view of the whole situation.
Raging Bull (1980)
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MATCH CUT : a. variety of views, long shots of
boxers;
b. cut on action – Ray approaching
opponent at end of fight
PARALLEL : cut to viewers watching match on
TV
SHOT / REVERSE SHOT : a. of fight between
the two boxers, majority over the shoulder
shots; b. in anticipation of fight, medium shots
REACTION SHOT : a. woman in audience; b.
blood on audience
Raging Bull (1980)
COMMENTARY
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Effective use of “slo-mo” to create a
psychological sense of anticipation and tension
in scene, as the viewers await the fight.
Variety of fast and slow cutting, contrasting
length of shots gives the scene a sense of
rhythm, it comes alive like a heart beat
Use of shot / reverse shot to create a space
between the boxers as they prepare to fight, in
that moment it's only about the two of them.
Cut Ins emphasize violence and brutality of the
Rocky II (1979)
Training Scene
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MONTAGE : various shots of Rocky training,
discontinuity between shots
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REACTION : shots of trainer
COMMENTARY
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The various shots in the montage establish
Rocky's determination to win; scenes are
repeated to show his improvement “come-back”
- observing an extended period of time during a
Rocky II (1979)
Fight Scene
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MATCH CUT : cut on action, various angles of
fight scene
SHOT / REVERSE SHOT : between boxers
REACTION : a. shots of coaches in audience,
b. audience, c. referee
CUT IN : close up of lights overhead ring
CUT AWAY : a. to show full ring, as boxers fall;
b. to show celebration after
Rocky's win, establishing shot
Rocky II (1979)
COMMENTARY
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The relative positions of the fighters are
retained during the fight, camera rotates with
fighters; can see them switch places (left to
right) in one shot, winner always on the right
Many reaction shots in the scene, of coaches,
audience members, and referee – contrasted
with shots of boxers – showing involvement in
the fight, emphasizing the humanity of the sport