1. EDITING PATTERNS
Comprehension Quiz

2. 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

3. 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

5. 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

6. 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

8. 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

9. 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

11. 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

12. 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.

14. 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

15. 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

18. 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.

19. 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

20. 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