Graphic match: (1.44) Parallel editing: Overlapping editing: mp4/view mp4/view & at 2.43 mark SHOW Hitchcock clip degree rule Match on action

Classical Hollywood Cinema & An Introduction to Editing

Classical Hollywood Cinema -films made during the reign of the studio system and after (~ ) -these films share similar approaches to storytelling

Conclusion to Casablanca

Classical Hollywood Cinema -films also share similar approaches to editing, known as: Continuity editing Invisible editing Classical Hollywood editing -this editing style helps CHC films achieve their goals of focusing the viewer’s attention just on the plot or story of the film

Goals of Classical Hollywood Cinema Editing (aka, continuity editing/invisible editing) -to fully control where the audience looks and what we see at all times -to make editing as unobtrusive (i.e., NOT noticeable) ad possible -when we don’t notice the cuts between shots we can better concentrate on the STORY

12 individual FRAMES

One shot consisting of 2 frames 2 shots edited together (only the final frame of one shot and first frame of the next shot are visible)

A SCENE IS NOT A SHOT! What is a shot? * a series of frames that runs for an uninterrupted period of time What is a scene? a part of the film taking place in one time and in one space Generally (but not always), scenes are made up of multiple shots

Dissolve

Wipe

Iris out

Cut

different joins are used for different purposes: a fade is meant to signify that a significant period of time has passed a dissolve also indicates that some time has passed a cut can signify that no time has passed but it can also be used to transition between 2 scenes taking place many years apart

Example: Graphic match Graphic relations an editor will often put 2 shots together based upon their graphic properties rather than narrative needs

Rhythmic relations Joining pieces of film together based on rhythmic demands a shot has an onscreen duration a shot can last a few seconds, a few minutes, or even hours (see Russian Ark) therefore a filmmaker might take into account the duration of shots when editing these shots together

Temporal Relations editing is also used to manipulate the order, duration and frequency of story time many ways to control and manipulate time through editing: elliptical editing overlapping editing

Elliptical editing: Screen time < Story time Overlapping Editing: Screen time > Story time screen time: the amount of time an action takes on the screen, as we see it story time: the amount of time this action would actually take in the story Example: in story time the act of brushing your teeth may take 3 minutes In screen time this act will take 15 seconds

Spatial Relations editing is also used to construct film space editing permits the filmmaker to juxtapose any 2 points in space and imply some kind of relationship between them In 1923, Soviet filmmaker Dziga Vertov said: “I am builder. I have put you in an extraordinary room which did not exist until just now when I created it. In this room there are 12 walls, shot by me in various parts of the world”

The Kuleshov Effect any series of shots that in the absence of an establishing shot (which would show the whole space), prompts the spectator to infer a spatial whole on the basis of seeing only portions of the space joined by editing

filmmakers use the 180 degree system/ obey the 180 degree rule to ensure that the relative positions of characters or objects in the frame remain consistent from shot to shot

Establishing shot ShotReverse Shot 180 degree line the 180 degree rule is also used to maintain consistent screen direction and consistent eyeline matches

Contiguity editing RIGHT WRONG

MATCH ON ACTION editing device that carries movement across a cut ensures spatial continuity and invisibility of editing

Eyeline Match Our desire to see what the character is looking at (i.e., to follow his eyeline) masks the cut