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Lesson 4 : Editing

Lesson 4 : Editing. Professor Aaron Baker. Previous Lecture. Mise-en-Scene Narrative Function in Smoke Signals (1998). This Lecture. Editing Continuity and Discontinuity in The Limey (1999). Part I: Editing. Editing. Coordinating One Shot with Next Most Analyzed Aspect Film Form

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Lesson 4 : Editing

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  1. Lesson 4:Editing Professor Aaron Baker

  2. Previous Lecture • Mise-en-Scene • Narrative Function in Smoke Signals (1998)

  3. This Lecture • Editing • Continuity and Discontinuity in The Limey (1999)

  4. Part I: Editing

  5. Editing • Coordinating One Shot with Next • Most Analyzed Aspect Film Form • First Films Just One Shot • Now Hollywood Films 1-3 K 1896 - Edison's film entitled The Kiss saw May Irwin and John C. Rice re-enact the final scene from the Broadway play musical The Widow Jones - it was a close-up of a kiss.

  6. Ways to Edit • In-Camera • Storyboarding • Editing Table • Now Computerized • Final Cut Back on Negative

  7. Shot Relations Four Principles by Which to Connect Shots: • Graphic - Composition • Rhythmic - Length • Spatial - Build Space • Temporal Relations - Define Time

  8. Graphic Editing • Continuity • Contrast • Pictorial Content • Movement/Stasis

  9. Rhythmic • Temporal Length of Shot • Long Shots – contemplative • Short Shots – energy • ASL in Hollywood Now: Few Seconds

  10. Spatial Relations • Editing Can Create Story Space • Spaces Juxtaposed to Suggest Contiguous

  11. Crosscutting • Parallel Editing • We See Simultaneous Actions in Different Spaces • Spaces Linked • Cause and Effect Relationship Between Actions in Two Places

  12. Crosscutting (continued) • Unrestricted Range of Knowledge • Please watch the clip to see e.g. of crosscutting in Syriana (2005).

  13. Four Spaces Paralleled Editing Here Connects Four Spaces: • Convoy • CIA • Oil Execs at Banquet • Clooney Character

  14. Editing and Time • Controls Time of Story • Supports Plot’s Manipulation of Story • Determines Order, Duration, Frequency of Story Actions

  15. Part II:Continuity and Discontinuity Editing in The Limey

  16. Order • Usually Chronological • Flashbacks • Flashforwards • Please watch a clip from The Limey. • Back and Forth in Conversation, Plane, Gun, Warehouse

  17. Memory • Present Tense: Wilson in LA for Revenge • Flashbacks to Memories: Plane, Jenny as Girl, When She Confronted Drug Smugglers • His Motivation

  18. Revenge • Flashforwards Show What Wilson Wants • Hint at Why Won’t Satisfy • Violent Future Can’t Change Past Failed Relationship

  19. E.g. Editing Often Elliptical • Events Shown With Less Screen Time Than in Story • Less Important Events Omitted By Plot

  20. Overlapping Editing • Repeating an Action to Expand Story Time • Lends Emphasis • Please watch a clip from Do the Right Thing (1989) • Important Action: Can Hits Window Twice

  21. Continuity Editing • Dominant in Hollywood Film • Certain Rhythms: Long Shots Longer than Close Ups • Main Objective: Clear Space and Time to Tell Story

  22. Continuity Transitions Move Story Forward, Demphasize Editing: • 180 Degree Rule • Match on Action • Eyeline Match • Shot/Reverse Shot

  23. Other Transitions • Fade out/in • Dissolve • Time Passing • Wipe • Iris • Straight Cut • Still Aide Story Less Invisible

  24. More Continuity Devices • Establishing Shot – Whole Narrative Space • Breakdown (Coverage) – Closer Views • Restablishment Shot – New Character, Action

  25. Such Analytical Cutting • Directs Our Attention • Emphasizes Dialogue, Reaction, Cause and Effect • Create Narrative Continuity

  26. The Limey • Please watch a clip from The Limey that illustrates analytical editing. • In this scene, Wilson hunts Valentine down in his Big Sur house.

  27. Establishing Shot • Of driveway • Followed by closer shots in house • Gunfight • Restablishing shots as Valentine escapes house, Wilson follows

  28. Intensified Continuity • 1930-60 Classical Continuity Style • 300-500 Shots • Now 1-3 K • New Continuity to Match New Pace

  29. Contemporary Editing • More Close Ups (CUs) • Closer Framing Easier to Understand When Shots are Short • Mobile Camera

  30. 1960- Present Films Seen on TV • Faster Editing, Moving Camera Energize Smaller Image • Holds Viewer Attention in Era of Distraction • CUs Present More on Smaller Screen

  31. Discontinuity Editing • Connections Not Obvious, Invisible • Viewer Interprets Assigns Temporal, Spatial, Causal Relations Between Shots

  32. Discontinuity Devices • Jump Cut: Transition from one shot to next “jumps” on screen • Makes viewer aware of editing • What is filmmaker presenting in these shots?

  33. Discontinuity in The Limey • Please rewatch the first part of the clip we saw earlier from The Limey. • Jump Cuts as Eduardo and Wilson Talk

  34. Discussion Questions • Why these jump cuts? • Asking Us to Evaluate Characters? • Post a response on the eBoard to these questions and the comment of a colleague.

  35. Summary • Editing • Continuity and Discontinuity • The Limey (1999)

  36. Next Lecture: Cinematography End of Lecture 4

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