1. The Relation of Shot to Shot: Editing

2. Duration of the image: The Long Take By manipulating, screen duration, film’s plot condense story duration of several hours into a minute or so Long takes Artistic and emotional takeaways Relies heavily on mobile frame (pans, tilts, etc) Complex pattern of movements moving toward a single goal

3. Editing Theorist saw power of editing in 20s, now most discussed EDITING: the coordination of one shot with the next Eliminate unwanted footage and superfluous frames Fade-out: gradually darkens end of shot to black Fade-in: lights a shot from black

4. Editing CUT: Most common means of joining two shots Up until 1990s, splicing and taping Now, done digitally Shot-uninterrupted time Fades, dissolves, and wipe- gradually eliminating one shot and replacing it with another Cuts are instantaneous changes from one shot to another

5. Dimensions of Film Editing Four basic areas of choice and control: 1)Graphic relations between shot A and shot B 2)Rhythmic relations between shot A and shot B 3)Spatial relations between shot A and shot B 4)Temporal relations between shot A and shot B

6. Graphic Relations between Shot A and Shot B Editing purely pictorial qualities: Four aspects of mise-en-scene (lighting, setting, costume, and behavior) Most cinematographic qualities (photography, framing and camera mobility) Every cut creates graphic relationship

7. Rhythmic Relations Between Shot A and Shot B When filmmaker, adjust length of shots in relation to one another, he is controlling rhythmic potential of editing Patterning of shot lengths contributes considerably to film rhythm - along with mise-en-scene, cinematography, etc. Pattern and pattern of speed effect rhythm

8. Spatial Relations between Shot A and Shot B Helps construct film space Permits filmmaker to juxtapose any 2 points in space and imply some sort of relationship between them Kuleshov Effect- any series of shots that in the absence of an establishing shot prompts the spectator to infer a spatial whole on the basis of seeing only portions of the space infer a single locale Crosscutting- common way films construct a variety of spaces

9. Temporal Relations between Shot A and Shot B -There is an order of presentation of events -Manipulation of events leads to changes in story-plot relations -Flashbacks and flash-forwards -Duration editing—Elliptical Editing -Can also extend time—overlapping editing