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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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slide1
Editing: Essence of Filmic Narration

özge / advance interactive narrations / 6 nov 2006

slide2
Tom Gunning’s

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

slide4
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
slide5
Discovery of paper prints.

They are for copyrights.

slide7
From “cinema of attractions” to a narrative form

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

Melies Griffith

slide8
comics (split screens) has more impact on film in comparison to theater.
  • impact of vaudeville Winsor McCay
slide11
Kubrick’s 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
dimensions of film editing
Dimensions of Film Editing
  • Graphic Relations
  • Rhythmic
  • Spatial
  • Temporal
slide14
Dissolve
  • Fade out
  • Fade in
  • Wipe
  • Cut
  • Graphic Match
slide17
Fade out: 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?
slide20
Graphic Match: linking the shots by graphic similarities.
  • Smooth continuity
  • Abrupt contrast
  • Kubrick’s 2001 Space Odyssey
  • Caro’s Alien 4 Resurrection
slide21
Continuity Editing: Editing for invisible narration.

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

slide22
Jump Cut: 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
terror iraq weapons
Terror, Iraq, Weapons

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

slide24
Continuity Editing

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

slide29
Kuleshov Effect: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).
intellectual visible montage
Intellectual-Visible Montage
  • 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.
editing time
Editing -Time
  • 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
temporal discontinuity
Temporal Discontinuity
  • Flashback
  • Flashforward
  • Ellipsis: Psychological closure, difference between story-plot times
slide33
1. How long is the duration subtracted by ellipsis?

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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