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The Relation of Shot to Shot: Editing

The Relation of Shot to Shot: Editing. Duration of the image: The Long Take. By manipulating, screen duration, film’s plot condense story duration of several hours into a minute or so Long takes Artistic and emotional takeaways Relies heavily on mobile frame (pans, tilts, etc )

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The Relation of Shot to Shot: Editing

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  1. The Relation of Shot to Shot: Editing

  2. Duration of the image: The Long Take • By manipulating, screen duration, film’s plot condense story duration of several hours into a minute or so • Long takes • Artistic and emotional takeaways • Relies heavily on mobile frame (pans, tilts, etc) • Complex pattern of movements moving toward a single goal

  3. Editing • Theorist saw power of editing in 20s, now most discussed • EDITING: the coordination of one shot with the next • Eliminate unwanted footage and superfluous frames • Fade-out: gradually darkens end of shot to black • Fade-in: lights a shot from black

  4. Editing • CUT:Most common means of joining two shots • Up until 1990s, splicing and taping • Now, done digitally • Shot-uninterrupted time • Fades, dissolves, and wipe- gradually eliminating one shot and replacing it with another • Cuts are instantaneous changes from one shot to another

  5. Dimensions of Film Editing • Four basic areas of choice and control: • Graphic relations between shot A and shot B • Rhythmic relations between shot A and shot B • Spatial relations between shot A and shot B • Temporal relations between shot A and shot B

  6. Graphic Relations between Shot A and Shot B • Editing purely pictorial qualities: • Four aspects of mise-en-scene (lighting, setting, costume, and behavior) • Most cinematographic qualities (photography, framing and camera mobility) • Every cut creates graphic relationship

  7. Rhythmic Relations Between Shot A and Shot B • When filmmaker, adjust length of shots in relation to one another, he is controlling rhythmic potential of editing • Patterning of shot lengths contributes considerably to film rhythm - along with mise-en-scene, cinematography, etc. • Pattern and pattern of speed effect rhythm

  8. Spatial Relations between Shot A and Shot B • Helps construct film space • Permits filmmaker to juxtapose any2 points in space and imply some sort of relationship between them • Kuleshov Effect- any series of shots that in the absence of an establishing shotprompts the spectator to infer a spatial whole on the basis of seeing only portions of the space • infer a single locale • Crosscutting- common way films construct a variety of spaces

  9. Temporal Relations betweenShot A and Shot B • There is an order of presentation of events • Manipulation of events leads to changes in story-plot relations • Flashbacks and flash-forwards • Duration editing—Elliptical Editing • Can also extend time—overlapping editing

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