The Art of Editing #2

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Continuity editing, lesson #2


1.CLASS 2THE ART OF EDITING CONTINUITY EDITING SHANNON WALSH / SM2002 / SPRING 2014 SCHOOL OF CREAT IVE MEDIA, CIT Y UNIVERSIT Y HONG KONG2. HISTORY OF EDITING II INNOVATION & EXPERIMENTATION 3. THE KULESHOV EFFECT Film is editing. 4. THEORY OF MONTAGE: SERGEI EISENSTEIN Metric montage Rhythmic montage Tonal montage Over tonal montage Intellectual montage 5. ODESSA STEPS SEQUENCE The power of the cut, rhythm, juxtaposition, parallel action and montage. 6. EXPERIMENTS IN CINEMA: DZIGA VERTOV The Man with the Movie Camera (1929) Vertov reminds viewers that cinema is not reality Special effects and fantasy Playful clash of reality and illusion Visual associations 7. EXPERIMENTS IN CINEMA: LUIS BUNUEL Un Chien Andalou 17min,(1929) Destroys meaning, shock Surrealism, expressionism, psychoanalysis Visual discontinuity: continuity editing, but discontinuity in the story plot and character goal 8. EXPERIMENTS IN CINEMA: SOUND TIME PLACEM, Fritz Lang (1931) 9. Modern Times Chaplin (1936) 10. BASIC TRANSITIONS The basic 4 edits: Cut Dissolve Wipe Fade 11. ACTION CONTINUITY: ASSIGNMENT #1 In the first assignment you will learn techniques of action continuity. 1. Match on action 2. Shot/Reverse-shot 3. 180 degree rule 12. ACTION CONTINUITY: MATCH ON ACTIONMatch on Action is when you cut to a new camera angle at the same point in time without breaking the flow of the previous shot. 13. ACTION CONTINUITY: SHOT/REVERSE SHOTTwo shots edited together that alternate the characters, typically in a conversation situation. 14. ACTION CONTINUITY: SHOT/REVERSE SHOT 15. ACTION CONTINUITY: SHOT/REVERSE SHOT 16. EXAMPLES SHOT/REVERSE SHOT Editor Thelma Shoonmaker on Raging Bull (1980): Dirty Harry (1971) Do you feel lucky? Unlike most shot reverse shots this isnt over the shoulder. 17. ACTION CONTINUITY: 180 DEGREE RULE 18. 180 DEGREE RULE 19. ACTION CONTINUITY: 20. ACTION CONTINUITY: IMAGE SIZE FOR CUTTING 21. LONG TO MEDIUM SHOT 22. MEDIUM TO CLOSE-UP 23. THE RULE OF 6: WALTER MURCH 1) Emotion 2) Story 3) Rhythm 4) Eyetrace 5) Twodimensional plane of screen 6) Threedimensional space of action For Murch, an ideal cut, Is true to the emotion of the moment; Advances the story; Is rhythmically interesting and right; Acknowledges the eye-trace; Respects planarity; Respects the three-dimensions continuity of the actual space.But, he says, emotion is the thing that you should try to preserve at all costs. Murch, W. In the blink of an eye: A perspective on film editing. SilmanJames Press, 1995, pp. 17-2051% 23% 10% 7% 5% 4%