5 - Editing

Question 1

-Cut

Answer 1

A cut provides an instantaneous change from one shot to another.

Question 2

-Shock cut

Answer 2

A cut in a movie that juxtaposes two radically different scenes in order to shock the viewer

Question 3

-Fade out/in

Answer 3

A fade-out gradually darkens the end of a shot to black, and a fade-in lightens a shot from black.

Question 4

-Dissolve

Answer 4

dissolve briefl y superimposes the end of shot A and the beginning of shot B

Question 5

-Wipe

Answer 5

shot B replaces shot A by means of a boundary line moving across the screen

Question 6

-Graphic match/clash

Answer 6

The filmmaker may link shots by close graphic similarities, thus making a graphic match

Question 7

-Flash frames

Answer 7

At the instant of contact, director George Miller cuts in a few frames of pure white. The result is a sudden fl ash that suggests violent impact. Such fl ashframes have become conventions of action fi lms

Question 8

-Rhythmic editing

Answer 8

In general, by controlling editing rhythm, the filmmaker controls the amount of time we have to grasp and reflect on what we see. A series of rapid shots leaves us little time to think about what we’re watching.

Question 9

-Intra-frame editing

Answer 9

Today’s editors can also alter space through intra-frame editing. Digital filmmaking makes it easy to combine parts of different shots into a single shot

Question 10

-Kuleshov effect

Answer 10

Kuleshov effect. In general, that term refers to cutting together portions of a space in a way that prompts the spectator to assume a spatial whole that isn’t shown onscreen.

Question 11

-Cross-cutting

Answer 11

A cut can take us to any point on the correct side of the axis of action. Editing can even create omniscience, that godlike knowledge of things happening to people in many places. The outstanding technical device here is crosscutting,

Question 12

-Flashback/flash-forward

Answer 12

which present one or more shots out of their presumed story order

Question 13

-Elliptical editing: punctuation, empty frames, cutaway

Answer 13

Elliptical editing presents an action in such a way that it consumes less time on the screen than it does in the story. The filmmaker can create an ellipsis in three principal ways.

Question 14

-Overlapping editing

Answer 14

If the action from the end of one shot is partly repeated at the beginning of the next, we have overlapping editing. This prolongs the actio

Question 15

-Axis of action

Answer 15

When working in the continuity style, the filmmaker builds the scene’s space around what is called the axis of action, the center line, or the 180° line.

Question 16

-180 degree rule

Answer 16

The 180° system can be imagined as the bird’s-eye view in 6.52. A girl and a boy are talking. The axis of action is the imaginary line connecting them.

Question 17

-Screen direction

Answer 17

As long as our shots do not cross this axis, cutting them together will keep the screen direction of the girl’s movement constant, from left to right. But if we cross the axis and film a shot from the other side, the girl will now appear on the screen as moving from right to left. Such a cut could be disorienting.

Question 18

-Establishing/Re-establishing shot

Answer 18

It serves as an establishing shot, delineating the overall space of the offi ce: the door, the intervening area, the desk, and Spade’s position.

Question 19

-Shot/Reverse-shot

Answer 19

The fi rst tactic is the shot/reverse-shot pattern. Once the 180° line has been established, we can show fi rst one end point of the line, then the other. Here we cut back and forth from Effi e to Spade.

Question 20

-Eyeline match

Answer 20

The second tactic Huston uses here is the eyeline match. This occurs when shot A presents someone looking at something offscreen and shot B shows us what is being looked at.

Question 21

-Match on action

Answer 21

—the match on action, a very powerful device. This is simply a matter of carrying a single movement across a cut.

Question 22

-Cheat cut

Answer 22

Another felicity in the 180° system is the cheat cut. Sometimes a director may not have perfect continuity from shot to shot because each shot was composed for specifi c reasons. Must the two shots match perfectly? Again, narrative motivation decides the matter

Question 23

-Point of view cutting

Answer 23

g) is a technique used in film editing, which spatially relates two shots. The first shot shows a person looking at an object, usually offscreen. … This second shot is also known as a point of view shot.

Question 24

-Montage

Answer 24

a city waking up in the morning, a war, a child growing up. Here the filmmaker can pick another device from the menu: the montage sequence.

Question 25

-30 degree rule

Answer 25

Many filmmakers believe that jump cuts can be avoided by shifting the camera at least 30 degrees from shot to shot (the so-called 30° rule).

Question 26

-Jump cut

Answer 26

jump cut. Though this term is used in various ways, one primary meaning is this. When you cut together two shots of the same subject, if the shots differ only slightly in angle or composition, there will be a noticeable jump on the screen. Instead of appearing as two shots of the subject, the result looks as if some frames have been cut out of a single shot (

Question 27

-Non-diegetic insert

Answer 27

second sort of continuity disruption is created by the nondiegetic insert. Here the filmmaker cuts from the scene to a metaphorical or symbolic shot that doesn’t belong to the space and time of the narrative