Editing revision

 Film are not like plays as plays are filmed from beginning to end but films arent filmed in continuity order.

Continuity editing is the name given to the classical style of editing that is the standard language of cinema. 

David Bordwell & Kristen Thompson

- Continuity editing is a system of cutting to maintain continuous and clear narrative ac ton. It relies on matching screen direction, position and temporal relation from shot to shot.

The key to continuity editing is that it flows always directing the spectators attention to where it needs to be without spectator noticing. It is supposes to be invisible.

Continuity editing:

    - 180 degree rule

An imaginary line of axis drawn through the centre of the action

The camera must stay on one side and should never cross the line

This prevents subjects from switching sides of the screen, which could confuse the audience

Faster editing in modern films means this rule is increasingly being broken

    - 30 degree rule

States than ant change of camera angle should be by more than (30 degrees) or it will look like a mistake or jump cut

    - Screen direction & Action match

Shots should skis have continuity of screen direction

The direction of movement of a subject or a camera movement in Shot A should be matched to Shot B.

    - Match on action

A cut is placed while something is moving, which distracts the audience from the cut. Used in conjunction with action match but shouldn't be confused.

Transitions

movements from one scene into another, the most common is a cut

  -  Cut

  -  Dissolve/cross fade

Both scenes are on screen at the same time. They are used to cut out time (ellipsis)

 -   Wipe

Wipes are also used to cut out time and connote a change of location

 -   Fade

The image gradually appears and connotes a change of time and space.

 -   Effects transitions

Establishing shots

    - Establishing shots are wide shots that are used to establish the location of a scene.

Master shots

    - Master shots are the traditional way of ensuring continuity.

The actor plays the while scene through from start to finish on one angle - a long or medium shot. Then they repeat their lines fro close ups two-shots and so on. The editors cut all of this material together in the way that seems to work best.

Insert shots

    - An insert shot is a shot that draws the spectators attention to an important detail. They are usually close up shots. It links to Bartes narrative codes (1977). They can be action codes and enigma codes. 

Cut away shots

    - A cut away shot is a shot inserted into a scene to shoe parallel action at another location or to illustrate what a character is talking about and it always comes back. They are especially used to make exposition (talking) scenes interesting.

Reaction shots

    - A reaction shot is almost like a cut away shot used to shoe a characters reaction and it always goes back to the first character.

Shot reverse shot structure

    - Shot reverse shot structure juxtapose two images in order to create a link between them. They are used to link subjects in conversation, gun fights, chases and eye line matches. 

    - They are the foundation of continuity editing. its important to follow the 180 degree rule during shot reverse shot structures.

Shot reverse shots are very effective at establishing Binary opposites (Claude Levi-Strauss, 1958)

Eye line match

    - It is a kind of shot reverse shot structure that is used yo show what a character is looking at

Ellipsis

    - One of the key roles of editing is to cut out things the audience doesnt need to see and compress time. This is known as an Ellipsis.

Montage sequence

    - Consist of a series of juxtaposed shots which all combine to create an overall meaning or to compress time.

Non continuity editing:

Non continuity editing disrupts the diegetic effects, which reminds the audience that they are watching a film. (known as breaking the 4th wall)

- Intellectual montage

Builds the narrate by juxtaposing shots to connote a meaning that isnt in any shot on their own. they don't have meaning alone but when placed together they connote a new meaning for the spectator.

    Rhythmic montage

        Much like metric montage, its based on time and tempo, but rhythmic concerns itself with what's in the frame, cutting in tempo and with action

    Metric

        Cutting based purely on the length of shot

    Tonal

        Isn't concerned with time but the tone of shot- from lighting, shadows and shapes in frame. Cutting between shots of different aesthetic tones creates meaning, contrasts and binary opposites (Claude Levi Strauss)

    Overtonal

        On a larger scale macro cell (all of them combined) that combines metric, rhythmic and tonal montage- how the whole sequence plays against each other

    Dialectical/intellectual

        Sought to express abstract ideas by creating relationships between opposing                     visuals intellectual concepts.

- Flash forwards backwards

Alteration where the plot moves forwards or backwards often indicated by the use of dissolve of wobble.

- Split screen

The image is split into different sections with each section showing a different image. Often show parallel action instead of cross cutting. The most common is a telephone call between two people.

- Breaking the fourth wall

Bertolt Brecht (Eugen Bertholt Freidrich Brecht)

(verfremdungseffekt - German word for Breaking the Fourth wall) 

Where characters break the diegetic effect by directly addressing the audience and drawn the spectators attention to the fact that they are watching a film.

    Jump cut

        - A jump cut is a cut that the audience is meant to notice. It is often connote confusion.

    Kuleshov effect

Editing works on the principal of the Kuleshov Effect. Lev Kuleshov was a soviet filmmaker who pioneered ideas of montage that were later developed by Sergei Eisenstein and others. 

Edited a short film with the ideas of expressionless face of Tsarist matinee idol Ivan Mosjoukine was alternated with various shots. The film was shown to an audience who believes that the expression on his face was a different watch time he appeared. It was juxtaposed with the picture it was presented with however the picture is identical each time.

- Graphic match

    Where objects which appear similar are used in a successive shot, sometimes to imply a link. They are often used to connote a change of time or space.

- Sound Match

    Where sounds are linked. It has a direct impact on the narrative. 

- Movement match

    Can be a pass by effect where moving from one place reveals another.