5 - Editing Flashcards
-Cut
A cut provides an instantaneous change from one shot to another.
-Shock cut
A cut in a movie that juxtaposes two radically different scenes in order to shock the viewer
-Fade out/in
A fade-out gradually darkens the end of a shot to black, and a fade-in lightens a shot from black.
-Dissolve
dissolve briefl y superimposes the end of shot A and the beginning of shot B
-Wipe
shot B replaces shot A by means of a boundary line moving across the screen
-Graphic match/clash
The filmmaker may link shots by close graphic similarities, thus making a graphic match
-Flash frames
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
-Rhythmic editing
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.
-Intra-frame editing
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
-Kuleshov effect
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.
-Cross-cutting
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,
-Flashback/flash-forward
which present one or more shots out of their presumed story order
-Elliptical editing: punctuation, empty frames, cutaway
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.
-Overlapping editing
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
-Axis of action
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.
-180 degree rule
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.
-Screen direction
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.
-Establishing/Re-establishing shot
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.
-Shot/Reverse-shot
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.
-Eyeline match
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.
-Match on action
—the match on action, a very powerful device. This is simply a matter of carrying a single movement across a cut.
-Cheat cut
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
-Point of view cutting
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.
-Montage
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.
