continuity editing Flashcards
Graphic relations between shot A and B
the pictorial resemblances and differences between shots.
Rhythmic relations between shots A and B
the changes in shot duration
Spatial relations between shots A and B
the changes in the depiction of space in the shots
Temporal relations between shots A and B
the changes in the depiction of time in the shots
Flashback
A return to an earlier moment in a story, and as a result altering story order
Cut
an instantaneous transition from one shot to another.
fade-out
gradual darkening to black
fade-in
gradual lightening from black
dissolve
the superimposition of two shots, one ends, one begins
wipe
a boundary line moving across the screen.
Note about shot transitions
shot transitions can exhibit any combination of these relations.
A shot (in relation to editing)
one uninterrupted static or mobile image.
Editing
the set of techniques that governs the relations between shots
continuity editing
It is the dominant mode of editing in mainstream fiction, film or television
Main functions of continuity editing
to the smooth flow of shot transitions and to maintain the spatial and temporal coherence of a scene or sequence
rules and techniques
180-degree system, also known as 180-degree rule or line
Axis of action
Screen direction
Eyeline matches
Shot/reverse shot
Match on action
Analytical editing
The 180-degree system
the stipulation that the camera should stay on one side of the axis of action to preserve consistent spatial relations
The axis of action (or 180-degree line):
an imaginary line that passes through the main actors
screen direction
the right-left relationships in a scene, often set up by an establishing shot, and maintained by eyeline matches
The preservation of right or left movement by adhering to the 180-degree rule.
Eyeline match:
The principle in which the first shot shows someone looking in one direction with the next shot revealing what the character sees.
If a character in the first shot is looking left, then the character in the second shot should be looking right.
shot/reverse shot
two or more shots edited together that alternate between characters, usually in a dialogue situation.
match on action
a cut that occurs while a character is in the midst of an action, where the subsequent shot reveals the completion of that action, while appearing continuous
analytical editing
the breaking down of the space of a scene into progressively smaller camera distances to control viewer attention upon what is narratively salient.
This technique often commences with an establishing shot to establish setting.
temporal relations
Relations between shots A and B are chronological and continuous and follow story order: the dominant way to order shots in a scene.
Relations between shots A and B are elliptical and moments in the story are elided (elliptical editing, jump cuts, montage sequences).
Relations between shots A and B represent a jump forward in story time (flash forward).
Relations between shots A and B represent a jump backward in story time (flashback).
Storylines A and B are simultaneous with the editing cutting between the different lines of action (crosscutting or parallel editing).
