EDITING PATTERNS Comprehension Quiz

Lawrence of Arabia (1962) 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 SLOW CUTTING – extended shots, especially in establishing the desert landscape

Lawrence of Arabia (1962) COMMENTARY 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 GRAPHIC MATCH: transition between to scenes with similar visual compositions, from rotating bone to space craft in sky MONTAGE: repeating shots of bones being smashed by the ape “SLO-MO”: action of smashing bones

2001: A Space Odyssey (1968) COMMENTARY 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) 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 FAST CUTTING > SLOW CUTTING : variety of shot lengths, to create sense of anticipation and action in car chase

Breathless (1960) COMMENTARY 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) 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 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. The dissolve is used as a transition between shots, to zoom in on the speaker. Overlaying the image of the poster with the actual man, emphasizes that these two figures are one and the same.

Raging Bull (1980) 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 CUT IN : showing extreme close ups of fight, various details (i.e. gloves, parts of body, blood) 180-DEGREE RULE : fighters retain relative position SLOW CUTTING > FAST CUTTING : alternating length of shots; waiting for the punch and the fast action of the fight “SLO-MO” : creating a sense of anticipation and tension during fight

Raging Bull (1980) COMMENTARY 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 match

Rocky II (1979) Training Scene MONTAGE : various shots of Rocky training, discontinuity between shots REACTION : shots of trainer COMMENTARY 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 short interval.

Rocky II (1979) Fight Scene 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 PARALLEL CUT : of viewers watching fight on TV 180-DEGREE RULE : relative positions of fighters “SLO-MO” effect as boxers try to get up

Rocky II (1979) COMMENTARY 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