Film Topics: Editing Mr. Skaar ALHS Film Studies

Introduction n Physically, editing is joining one strip of film (shot) with another n Shots are joined into scenes. n Editing connects one shot with another, one scene with another. n Editing is the “Syntax” of cinema.

Topics of Discussion n Continuity n D.W. Griffith and Classical Cutting n Soviet Montage and the Formalist Tradition n Andre Bazin and the Tradition of Realism n Hitchcock’s North by Northwest: Storyboard Version

Continuity n Early film one long shot with a single take n Cutting to Continuity: Preservation of the fluidity of an event without literally showing all of it. u Establishing Shot u Jump Cut u Reestablishing Shot

D.W. Griffith and Classical Cutting Classical Cutting: Editing for dramatic intensity and emotional emphasis rather than for purely physical reasons n Use of long, medium, and close-up shots n Reaction Shot n Opposed to Master Shot or Sequence Shot

D.W. Griffith and Classical Cutting Classical Cutting: Terms n First Cut n Final Cut n Cover Shots n 180 Degree Rule n Reverse Angle n Parallel Editing (Cross-Cutting) n Flash-Back, Flash-Forward

Soviet Montage and the Formalist Tradition Montage: The theoretical premises for thematic editing (Sergei Eisenstein) n Psychological theories of Pavlov n Use of cutting for symbolic purposes n Expressionism n Reflects dialectical tension n Manipulative

Andre Bazin and the Tradition of Realism Realism: The belief that film presents its own interpretation n Personalism: The viewer should provide their own interpretation n Devices u Deep-Focus u Widescreen u Synchronized Sound u Sequence Shot

Hitchcock’s Storyboard Method n Every scene preplanned with detailed drawings n Film maker (editor) films and composes the film from those shots as a composer of music. n Nothing left to chance.

Additional Terms