Film Editing
HUM 110: Intro to American Film
JC Clapp, North Seattle College
Info here borrowed heavily from
the Film Art (10th ed.) textbook by Borwell & Thompson and
from the Yale Film Studies website:
http://classes.yale.edu/film-analysis/htmfiles/editing.htm
Overview of Transitions
• Super basic overview of transitions (38 sec) http://youtu.be/jDWmOg-N8wI
Type of
Transitions: Cut
• Cut – instant
change from one
shot to another –
there are different
kinds of cuts, such
as jump cuts and
cheat cuts
Type of Transitions:
Fade-Out and Fade-In
• Fade-out – gradually darkens the end to black
• Fade-in – gradually lightens a shot from black
http://youtu.be/umINbAf846Q
(17 sec)
Type of Transitions: Dissolve
• Dissolve – briefly superimposes the end
of shot A and the beginning of shot B. (The
example below from Aliens uses a graphic match, as well)
Type of Transitions: Wipe
• Wipe – shot B replaces shot A by means of a line that
moves across the screen (both shots are seen at the
same time, but don’t blend). Line may move from
top to bottom or from left to right.
(9 sec) http://youtu.be/lVW_fdPVQHQ
Editing Allows for . . .
• Graphic relations between shots – visual connections
and continuity
• Rhythmic relations between shots -- pace
• Spatial relations between shots – creating space and
meaning
• Temporal relations between shots -- time
Examples . . .
Graphic Relations Between Shots
• Graphic match – shapes, colors or composition in
shot A is reflected in shot B. (Shower scene from
Psycho)
Rhythmic Relations Between Shots
• Pace or tempo is the amount of time the
audience has to grasp and reflect on what we
see. Rapid shots leave us with little time and
can build excitement.
• Pay attention to the rhythm of the film – the
pace matters.
Some examples . . .
Spatial Relations Between Shots
• Juxtaposing any two points in space suggests some
kind of relationship.
• Kuleshov Effect: cutting together portions of a space
in a way that prompts the viewer to assume a spatial
whole or relationship that isn’t actually shown
onscreen.
• Montage
http://youtu.be/0RhmvRBhY-8 (1:40)
Temporal Relations Between Shots
•
•
•
•
Order of events (chronology)
Flashback
Flashforward
Elliptical editing: presents an action so that it consumes
less time on screen than it does in the story.
• Overlapping editing: stretches the action out past its
story duration
Overview of Editing Effects
•
http://youtu.be/7LXQg6t4q2A (9:00 -- show only parts)
Continuity Editing
• Aims to transmit narrative information
smoothly and clearly. Graphic qualities are
kept roughly continuous, figures are balanced
in the frame, lighting tonality remains
constant, action occupies central zones of the
screen. Long shots left on screen longer than
medium shots, and medium shots are left on
longer than close-ups.
Continuity
• Shot/reverse-shot: shot from one end of the axis
of action, then the other
• POV shot: shot down the axis
• Eyeline match: shot A presents someone looking
at something offscreen and shot B shows us what
is being looked at. (Eyeline matches often used
with Kuleshov effect to create false spaces
through editing.)
• Match on action: carrying a single movement
across a cut
• Establishing shots and reestablishing shots
Examples of Continuity Editing
•
http://youtu.be/8xauSCz1mEk (7:35)
Continuity: 180 degree system
• Ensures that relative positions in the frame
remain consistent
• Ensures consistent eyelines
• Ensures consistent screen direction (direction
of movement)
• Ensures the viewer always knows where the
characters are in relation to one another
180 degree system
Explanation of 180 degree Rule
http://youtu.be/HdyyuqmCW14 (1:50)
Practice!
• Watch North by Northwest beginning at
0:33:39 through 0:42:19 – write down the
various editing techniques you see
• 1:06:12 – the crop-duster plane scene (watch
how it’s done) – next slide has map