Lesson 4: Editing Professor Aaron Baker

Previous Lecture Mise-en-Scene Narrative Function in Smoke Signals (1998)

This Lecture Editing Continuity and Discontinuity in The Limey (1999)

Part I: Editing

Editing Coordinating One Shot with Next Most Analyzed Aspect Film Form First Films Just One Shot Now Hollywood Films 1-3 K 1896 - Edison's film entitled The Kiss saw May Irwin and John C. Rice re-enact the final scene from the Broadway play musical The Widow Jones - it was a close-up of a kiss.

Ways to Edit In-Camera Storyboarding Editing Table Now Computerized Final Cut Back on Negative

Shot Relations Four Principles by Which to Connect Shots: Graphic - Composition Rhythmic - Length Spatial - Build Space Temporal Relations - Define Time

Graphic Editing Continuity Contrast Pictorial Content Movement/Stasis

Rhythmic Temporal Length of Shot Long Shots – contemplative Short Shots – energy ASL in Hollywood Now: Few Seconds

Spatial Relations Editing Can Create Story Space Spaces Juxtaposed to Suggest Contiguous

Crosscutting Parallel Editing We See Simultaneous Actions in Different Spaces Spaces Linked Cause and Effect Relationship Between Actions in Two Places

Crosscutting (continued) Unrestricted Range of Knowledge Please watch the clip to see e.g. of crosscutting in Syriana (2005).

Four Spaces Paralleled Editing Here Connects Four Spaces: Convoy CIA Oil Execs at Banquet Clooney Character

Editing and Time Controls Time of Story Supports Plot’s Manipulation of Story Determines Order, Duration, Frequency of Story Actions

Part II: Continuity and Discontinuity Editing in The Limey

Order Usually Chronological Flashbacks Flashforwards Please watch a clip from The Limey. Back and Forth in Conversation, Plane, Gun, Warehouse

Memory Present Tense: Wilson in LA for Revenge Flashbacks to Memories: Plane, Jenny as Girl, When She Confronted Drug Smugglers His Motivation

Revenge Flashforwards Show What Wilson Wants Hint at Why Won’t Satisfy Violent Future Can’t Change Past Failed Relationship

E.g. Editing Often Elliptical Events Shown With Less Screen Time Than in Story Less Important Events Omitted By Plot

Overlapping Editing Repeating an Action to Expand Story Time Lends Emphasis Please watch a clip from Do the Right Thing (1989) Important Action: Can Hits Window Twice

Continuity Editing Dominant in Hollywood Film Certain Rhythms: Long Shots Longer than Close Ups Main Objective: Clear Space and Time to Tell Story

Continuity Transitions Move Story Forward, Demphasize Editing: 180 Degree Rule Match on Action Eyeline Match Shot/Reverse Shot

Other Transitions Fade out/in Dissolve Time Passing Wipe Iris Straight Cut Still Aide Story Less Invisible

More Continuity Devices Establishing Shot – Whole Narrative Space Breakdown (Coverage) – Closer Views Restablishment Shot – New Character, Action

Such Analytical Cutting Directs Our Attention Emphasizes Dialogue, Reaction, Cause and Effect Create Narrative Continuity

The Limey Please watch a clip from The Limey that illustrates analytical editing. In this scene, Wilson hunts Valentine down in his Big Sur house.

Establishing Shot Of driveway Followed by closer shots in house Gunfight Restablishing shots as Valentine escapes house, Wilson follows

Intensified Continuity 1930-60 Classical Continuity Style 300-500 Shots Now 1-3 K New Continuity to Match New Pace

Contemporary Editing More Close Ups (CUs) Closer Framing Easier to Understand When Shots are Short Mobile Camera

1960- Present Films Seen on TV Faster Editing, Moving Camera Energize Smaller Image Holds Viewer Attention in Era of Distraction CUs Present More on Smaller Screen

Discontinuity Editing Connections Not Obvious, Invisible Viewer Interprets Assigns Temporal, Spatial, Causal Relations Between Shots

Discontinuity Devices Jump Cut: Transition from one shot to next “jumps” on screen Makes viewer aware of editing What is filmmaker presenting in these shots?

Discontinuity in The Limey Please rewatch the first part of the clip we saw earlier from The Limey. Jump Cuts as Eduardo and Wilson Talk

Discussion Questions Why these jump cuts? Asking Us to Evaluate Characters? Post a response on the eBoard to these questions and the comment of a colleague.

Summary Editing Continuity and Discontinuity The Limey (1999)

Next Lecture: Cinematography End of Lecture 4 Next Lecture: Cinematography