Editing

Question 1

Editing

Answer 1

• governs relationship between shots
• post-production
• affects structure of material rather than content
• shots affected by context
• additive: strung together chain of images
• subtractive: new shot replaces preceeding

Question 2

Types of Transitions

Answer 2

1. straight cut
2. fade-out/fade-in
3. dissolve
4. wipe
5. iris-out/iris-in

Question 3

Straight Cut

Answer 3

• instantaneous change, abrupt

- most popular

Question 4

Fade in/out

Answer 4

-gradual
In: begins black
Out: darkens at end
-usually combined
-can use other colours

Question 5

Dissolve

Answer 5

• shots seem to fade in together

- for a brief moment, you can see both

Question 6

Wipe

Answer 6

• usually used for a comedic effect

- boundary lone moves across the frame

Question 7

Iris in/out

Answer 7

-circular mask widens for in, becomes small for out

Question 8

Dimensions of Film Editing

Answer 8

1. graphic relations
2. rhythmic relations
3. spatial relations
4. temporal relations

Question 9

graphic match

Answer 9

• emphasize graphic relations
• takes qualities and puts it in the next shot
• main point of interest roughly constant

Question 10

flashback

Answer 10

-plot moves back to show events that occurred earlier than ones already shown

Question 11

flash-forward

Answer 11

-plot moves forward to show future events then moves back to the present

Question 12

elliptical editing

Answer 12

• eliminates some material
• stream-line story
• less tome onscreen than in story

Question 13

overlapping editing

Answer 13

• drawing out shot/extend duration

- action end of one shot partly repeated at beginning of next

Question 14

180 degree rule

Answer 14

• shoot only on 1 side of axis: attributes, direction, position of object in space remain same
• if broken, space will be unnavigable, illegible
• on one side, components + indicators of space will be consistent

Question 15

180 degree line/axis of action

Answer 15

-imaginary line through action

Question 16

establishing shot

Answer 16

• long shot establishing space

- broken down to significant portions-breakdown move in shots

Question 17

re-establishing shot

Answer 17

• can come in middle to remind viewers of what space looks like
• reestablishes the space

Question 18

shot/reverse-shot editing

Answer 18

• dialogue, exchange
• ppl constitute ends of axis
• cut back + forth
• symmetry

Question 19

eyeline match

Answer 19

• consistent sightlines

- shows us what the characters are looking at after we see the character looking

Question 20

match on action

Answer 20

• allows cut to be invisible because we are absorbed in the continuous action
• ensure direction of action is consistent

Question 21

crosscutting (a.k.a. parallel editing)

Answer 21

• cutting betw. 2 shots in diff. spaces, which suggest they are happening simultaneously
• could involve more that 2 lines of action
• unrestricted narration

Question 22

jump cut

Answer 22

-2 shots of same subject, differ only slightly

Question 23

graphic relations

Answer 23

• how they work together or against each other
• lines, shape, tone, composition, movement
• same=smooth transition
• different=jarring
• cuts create graphic relationship betw. shots

Question 24

accelerated editing

Answer 24

• duration becomes shorter + shorter

- suspense

Question 25

rhythmic relations

Answer 25

- determines tempo | - brief shots=quick, long take=slow, same duration=steady tempo

Question 26

temporal relations

Answer 26

- interruption on temporal progression | - may control chronology: affect story-plot relations

Question 27

Kuleshov Effect

Answer 27

- edited together 3 shots to create creative geography - men walking together in diff. cities - spectators assume they're in the same city - cutting creates performance - cutting together portions of space that prompts spectator to assume a spatial that isn't show onscreen

Question 28

Continuity Editing

Answer 28

- conventions set - widely accepted+incredibly prevalent - given all info needed to orient selves - minimize disruptive potential of cutting - emphasize coherence over fragmentation - continuity over interruption - ensuring the smooth flow of action from one shot to the next

Question 29

spatial relations

Answer 29

- create worlds that don't exist, only in our mind | - we assume spaces are contiguous

Question 30

Creating Continuity

Answer 30

- graphic similarities between shots:keep look consistent - regular rhythmic relations between shots: ensure shots are long enough - the creation of coherent and consistent space - minimal manipulation of temporal order and duration: signal clearly when manipulations occur

Question 31

techniques employed in continuity editing

Answer 31

- 180 degree rule - systematic establishment, break-down, and re-establishment of space - sightlines (eyeline match) - shot/reverse shot - match on action

Question 32

Discontinuity

Answer 32

- forge graphic, rhythmic, spatial, and/or temporal relations between shots that are not characterized by smoothness and thus render cuts visible rather than invisible. - Yasujiro Ozu, Jean-Luc Godard, Sergei Eisenstein - avante-garde - don't look consistent - shots too fast - break 180 degree rule - temporal discontinuity

Question 33

montage

Answer 33

-large process-brief portions of process