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Editing: Essence of Filmic Narration özge / advance interactive narrations / 6 nov 2006. Tom Gunning’s D.W. Griffith and the Origins of American Narrative Film. D. W. Griffith: master of the syntax of film narration. New elements Griffith introduces: The full shot The medium shot

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Editing: Essence of Filmic Narration

özge / advance interactive narrations / 6 nov 2006


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Tom Gunning’s

D.W. Griffith and the Origins of American Narrative Film



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  • New elements Griffith introduces:

  • The full shot

  • The medium shot

  • The close-up

  • The pan shot

  • The moving camera

  • The spot-iris

  • The mask

  • The fade

  • +Soviet films on Montage


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Discovery of paper prints.

They are for copyrights.



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From “cinema of attractions” to a narrative form

magic ---------------------> dramatic expression

Melies Griffith


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Kubrick’s (p.21)Shining Trailer

Tagline: A Masterpiece Of Modern Horror

The original trailer:

  • http://www.movie-list.net/classics/shining.mov

    A remake of it:

  • http://www.ps260.com/molly/SHINING%20FINAL.mov


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Editing: (p.21) Coordination of one shot with the next.


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Dimensions of Film Editing (p.21)

  • Graphic Relations

  • Rhythmic

  • Spatial

  • Temporal


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  • Dissolve (p.21)

  • Fade out

  • Fade in

  • Wipe

  • Cut

  • Graphic Match


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Dissolve: (p.21) superimposes end of shot A and beginning of shot B



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  • Fade out: (p.21) gradually darkens the end of a shot to the black

  • What does fade out effect imply if it is fading to white? SFU

  • to black?


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  • Fade in: (p.21) lightens a shot from black


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  • Wipe: (p.21) shot B replaces shot A by means of a boundary line moving across the screen


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  • Graphic Match: (p.21) linking the shots by graphic similarities.

  • Smooth continuity

  • Abrupt contrast

  • Kubrick’s 2001 Space Odyssey

  • Caro’s Alien 4 Resurrection


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  • Continuity Editing: (p.21) Editing for invisible narration.

    [Continuity Editing contains a very narrow set of editing possibilities.]


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  • Jump Cut: (p.21)When two shots of two subject are cut together but are not sufficiently different in camera distance and angle, then there will be a noticeable jump on the screen.

  • Godard’s Breathless

  • Allen’s Deconstructing Harry


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Terror, Iraq, Weapons (p.21)

http://www.youtube.com/watch?v=KUaEtf1s23w


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Continuity Editing (p.21)

Aim: Using editing for invisible narration

180 degree rule

Avoiding Continuity Mistakes. (Costume, cigarettes, position of objects etc…)

Cut with Movement

Intellectual Montage

Aim: Using editing as a tool for making meaning.

Jump Cuts

Non-diegetic inserts

Collage like quality

Rhythmic-Fast





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  • Kuleshov Effect: (p.21)Kuleshov edited a short film in which shots of the face of a man are alternated with various other shots (a plate of soup, a girl, a child's coffin).


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Intellectual-Visible Montage (p.21)

  • The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema,

  • Sergei Eisenstein,

  • Vsevolod Pudovkin

  • Dziga Vertov,

  • Battleship Potemkin, October, Mother, The End of St Petersburg, and The Man with a Movie Camera.


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Editing -Time (p.21)

  • Parallel Editing: The shots of the sequences which are given parallel belong to the same slice of time.

  • Events actions happening in these different spaces are simultaneous.

  • Silence of the Lambs


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Temporal Discontinuity (p.21)

  • Flashback

  • Flashforward

  • Ellipsis: Psychological closure, difference between story-plot times


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1. How long is the duration subtracted by ellipsis? (p.21)

2. Whether that ellipsis is filled or not?

3. Is it obvious; does the director want us to notice it or not

4. If it is filled later, what is the function of it?


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