Chapter 6 Flashcards
the cut
instantaneous change from one shot to another
fade out
end of shot gradually darkens to black
fade in
shot gradually lightens from black
dissolve
briefly superimposes end of shot A with beginning of shot B
Wipe
Shot B replaces shot A by means of boundary line moving across screen
What are the 4 areas of control of an editor
- graphic relations between shot A and B
- Rhythmic relations between shot A and B.
- Spatial relations between shot A and B.
- Temporal relations between shot A and B.
what are graphic relations
Patterns of light and dark/line and shape/volumes and depths/movement and stasis between shots.
graphic match
Two successive shots joined so as to create a strong similarity of compositional elements
what are rythmic relations
the patterning of shot lengths
flash-frames
a frame that is totally blank between two shots
what are spatial relations
linking shots through spatial orientation
intra-frame editing
blending of different shots into a single frame to manipulate space
Kuleshov effect
the way the same shot can have different value when the shots next to it change the context.
constructive editing (kuleshov effect)
cutting together portions of a space in a way that makes viewer assume a spatial whole that isn’t explicitly presented.
analytical editing
breaks establishing shot into closer views
Temporal relations
editing contributing to plot’s manipulation of story time
Which three areas of temporal control do editors have?
- order of events
- duration of events
- frequency of events
flash forward
editing goes from present to future event and back to present.
elliptical editing
presents action to consume less screen time than it does in story
what are the 3 ways editors use ellipsis in editing
- show beginning and end of event.
- show beginning and end of event with empty frames as transitions
- use a cutaway of another event elsewhere to fill time of first event’s middle portion
overlapping editing
action from end of one shot is partly repeated at beginning of next
continuity editing
aims to transmit narrative information smoothly and clearly over a series of shots
the 180 degree system
a half-circle area where camera can be placed to present the action
axis of action
the imaginary line that passes through the main actors or the principal movement.
why is the 180 degree system important
- relative positions in the frame remain consistent
- ensures consisten eyelines
- ensures consistent screen direction
establishing shot
tells audience where the scene will occur, establishes setting and space
match on action
carrying a single movement across a cut
cheat cut
cut that presents continuous time from shot to shot but that mismatches the positions of figures or objects.
crosscutting
plot alternates shots of story events in one place with shots of another event elsewhere
temporal continuity
a scene occupying 5 min in the story occupies 5 min on the screen
criteria of temporal continuity
- narrative progression has no gaps
- sound issuing from story space
- match on action
ellipsis
something that has been omitted
montage sequence
compress lengthy series of action into a few moments
jump cut
cut together two shots of the same object, but the angle and composition differs
how can jump cuts be avoided
shifting camera 30 degrees from shot to shot
nondiegetic insert
scene which is outside of story world
