Styles of editing

1. Continuity editing Hollywood narrative style “Analytic editing” Invisible shot transitions Shots subordinated to unity of segment Implies a passive spectator Discontinuity editing Modernist and experimental “Montage” style Foregrounds shot transitions Stresses formal integrity of each shot Implies active spectator Styles of editing

2. Continuity editing • Hollywood, narrative style. • “Analytic editing.” • Invisible shot transitions. • Shots subordinated to unity of segment. • Implies a passive spectator.

3. Analytic editing in Sabotage

4. Discontinuity editing • Modernist and experimental films. • “Montage” style. • Foregrounds shot transitions. • Stresses formal integrity of each shot. • Implies active spectator.

5. The aesthetics of editing relies on four areas of choice and control • Graphic relations • Rhythmic relations • Spatial relations • Temporal relations

6. Rhythmic relations between shots • Metrical montage

7. Graphic relations between shots • Line • Shape • Depth • Angle • Tonal contrast • Speed and direction of movement

8. Graphic relations between shots

9. Graphic relations between shots

10. Spatial relations between shots • The “Kuleshov effect” • “Creative geography”

11. Temporal relations between shots • Jumpcuts • Overlapping edits • Flashbacks and flashforwards

12. Sergei Eisenstein (1898-1948) • To precisely calculate he design of the work of art and its effects on the spectator. • No practice without theory. • No practice or theory of art separate from the social command.

13. The ideogram and the montage cell

14. Eisenstein’s theory of spectatorship • To direct forcefully the emotions and thought processes of the spectator as a series of “shocks.” • Pavlov’s reflexology: stimulus and response. • Marxist dialectic: out of conflict comes a higher unity, a synthetic idea in the mind of the spectator. • Montage as a bridge between • Laws of aesthetic form; • Laws of mind. • Dialectics: • “From conflict or collision to a higher unity.” • “The dialectic as a leap from quantity (aesthetic form) to quality (transformation of consciousness in the spectator).

15. Vertical montage • Metric montage • Physiological: photograms resolving into apparent motion • Shot length and pacing • Rhythmic montage • Artificially produced movement (logical and alogical) • Conflict between frames and syncopation of movement within the frame • Tonal montage • Associational or overtonal montage • Intellectual montage

16. Vertical montage

17. Metric and rhythmic montage

18. Tonal and overtonal montage

19. “Intellectual” montage

20. Dynamic structure and “ecstatic” composition • The Odessa steps Chaotic movement : rhythmic marching Masses : lines Close-ups : long shots Movement up : movement down The stone lions “leap”