The Graduate

Editing

CUT

Scene 1 till 3:37 The Cutting Edge

CUT

Is the joining of two separate shots

CUT

Is the joining of two separate shots

So that the first shot is instantaneously replaced by the second

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s - Lumiere Brothers invented the Cinematograph

Lumiere Bros. Cinematograph: camera, projector, developing machine

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

- Lumiere Brothers invented the Cinematograph

- Lumiere Bros. (Auguste & Louis) early films contained no editing

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

- Lumiere Brothers invented the Cinematograph

- Lumiere Bros. (Auguste & Louis) early films contained no editing

- Single-shot recordings (sequence shots)

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

- Lumiere Brothers invented the Cinematograph

- Lumiere Bros. (Auguste & Louis) early films contained no editing

- Single-shot recordings (sequence shots)

- Lasted the duration of one roll of film (1-2 minutes)

HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING

MID 1890s

- Lumiere Brothers invented the Cinematograph

- Lumiere Bros. (Auguste & Louis) early films contained no editing

- Single-shot recordings (sequence shots)

- Lasted the duration of one roll of film (1-2 minutes)

-The duration of the shots and the event were equal

George Melies created episodic films by connecting shots: cutting to continuity

George Melies created episodic films by connecting shots: cutting to continuity

- Editing and camera placement still based on live theatre

George Melies created episodic films by connecting shots: cutting to continuity

- Editing and camera placement still based on live theatre

- Camera is stationary, outside of the action

George Melies created episodic films by connecting shots: cutting to continuity

- Editing and camera placement still based on live theatre

- Camera is stationary, outside of the action

-Similar to curtain coming down and opening in a new location

Editing Breakdown

What is the shot selection? (MS, CU, etc.)

What is the angle? (High, Low, etc.)

Is there camera movement? (Dolly, pan, etc.)

Transition between shots? Is it a straight cut or is there a dissolve, dip to black, etc…

Cutting to Continuity

“Cutting to continuity tries to preserve the fluidity of an event without literally showing all of it” (Giannetti 132).

• The Cutting Edge scene 2 3:37-6:14

1903-Edwin S. Porter made Life of an American Fireman and The Great Train Robbery

1903-Edwin S. Porter made Life of an American Fireman and The Great Train Robbery

- Porter used editing to create parallel action

1903-Edwin S. Porter made Life of an AmericanFireman and The Great Train Robbery

- Porter used editing to create parallel action

- Shots are not linear - shot B does not pick up where shot A left off – linked instead by the continuity of an IDEA

The Great Train Robbery (1903), Edwin S. Porter

The Cutting Edge 10:25-12:55

1915 “The Father of Filmmaking”- D. W. Griffith makes The Birth of a Nation

1915 “The Father of Filmmaking”- D. W. Griffith makes The Birth of a Nation

-Classical cutting

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting

-Editing within scene to vary dramatic intensity

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting

-Editing within scene to vary dramatic intensity

-Expand visual explanation-

1915 “The Father of Filmmaking” -D. W. Griffith makes The Birth of a Nation

-Classical cutting -Editing within scene to vary dramatic intensity

-Expand visual explanation--juxtaposing long shots,

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting -Editing within scene to vary dramatic intensity

-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc.

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting -Editing within scene to vary dramatic intensity

-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc. - varying the length of shots

1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation

-Classical cutting -Editing within scene to vary dramatic intensity

-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc. - varying the length of shots -shifting the attention within a scene

1915-D. W. Griffith makes The Birth of a Nation

-Also changed film acting- acting for a close up = greater subtlety- less like stage acting

CONTINUITY EDITING:

CONTINUITY EDITING:

Designed to make editing INVISIBLE

CONTINUITY EDITING:

Designed to make editing INVISIBLE

- cutting on action: action begins in one shot and ends in another

CONTINUITY EDITING:

Designed to make editing INVISIBLE

- cutting on action: action begins in one shot and ends in another

- cutting on dialogue: motivated by whoever is talking (or listening)

(shot, reverse shot)

CONTINUITY EDITING:

Designed to make editing INVISIBLE

- cutting on action: action begins in one shot and ends in another

- cutting on dialogue: motivated by whoever is talking (or listening)

- cut on the glance: edit follows the eyes of a character

Scene 13-1:04:13 The Cutting Edge

CONTINUITY EDITING: AKA Classical Cutting

Master shot: A long shot of the entire action without cuts.

CONTINUITY EDITING: AKA Classical Cutting

Master shot: A long shot of the entire action without cuts.

The action is then repeated a number to times using medium shots, close ups, etc.

CONTINUITY EDITING: AKA Classical Cutting

Master shot: A long shot of the entire action without cuts.

The action is then repeated a number to times using medium shots, close ups, etc.

Without a master shot editors many not have adequate footage

Tsotsi(2005)

Directed by Gavin Hood

Presley Chweneyagae .... Tsotsi

1. How is editing used to inform the viewer about Tsotsi’s childhood?

2. How is continuity editing used in Tsotsi?

Be specific and use editing grammar to support your claim.

Response Questions - CHOOSE ONE OF THESE QUESTIONS TO RESPOND TO

RESPONSE PAPERS: Throughout the course of the semester, we will screen at least twelve films. You are required to write half-page response papers for at least five of the films. These papers are due one week from the day they are assigned. Each paper is worth a maximum of 2 points. These papers may constitute cumulative total of 10 possible points. All papers must be typed using 12 point Times Roman font, with 1” margins and be double-spaced. No handwritten pages accepted. Grammar, spelling, and punctuation are taken into account. Plagiarism is strictly prohibited.

• The Russians *scene 6

Moscow Film School used film as propaganda

Moscow Film School used film as propaganda

Their editing style was in direct opposition to American classical cutting

Moscow Film School used film as propaganda

Their editing style was in direct opposition to American classical cutting

Soviets believed that the power was in the juxtaposition

Moscow Film School used film as propaganda

Their editing style was in direct opposition to American classical cutting

Soviets believed that the power was in the juxtaposition

Cuts called attention to themselves

Moscow Film School used film as propaganda

Their editing style was in direct opposition to American classical cutting

Soviets believed that the power was in the juxtaposition

Cuts called attention to themselves

The meaning was made in the edit

1920s- Lev Kuleshov, Soviet film theorist

1920s- Lev Kuleshov, Soviet film theorist

- Experimented with juxtaposition

1920s- Lev Kuleshov, Soviet film theorist

- Experimented with juxtaposition

- Shots cut together to create ideas not contained in either shot on its own

= meaning through editing

1920s- Lev Kuleshov, Soviet film theorist

- Experimented with juxtaposition

- Shots cut together to create ideas not contained in either shot on its own

= meaning through editing

MONTAGE EDITING

MONTAGE EDITING

Sergei Eisenstein

Sergei Eisenstein

- shots COLLIDE to make meaning

MONTAGE EDITING

Sergei Eisenstein

- shots COLLIDE to make meaning

-often fragmenting time and space

MONTAGE EDITING

Sergei Eisenstein

- shots COLLIDE to make meaning

-often fragmenting time and space

- montage calls attention to itself, unlike Continuity editing

-the contrast and conflict of images

Montage clip from Eisenstein’s STRIKE (1925):

• Scene 12 till 1:00:00

SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES

SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES

- “MTV Generation” - grew up watching 30 second TV commercials, and rapidly-edited music videos

SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES

- “MTV Generation” - grew up watching 30 second TV commercials, and rapidly-edited music videos

- Shots often last a second or two (or less)