Film Form Narrative 1 StoryPlot 2 Narration Style

Film Form • Narrative • 1. Story/Plot • 2. Narration • Style • 1. Shot: Mise-en. Scene • 2. Shot: Cinematography • 3. Relation of Shot to Shot-Editing • 4. Sound

Editing • Process of combining shots-Shot is between two edits. 1, 000 s in a film • Two basic types • 1. Straight Cut-One shot replaces another • 2. Joins/Opticals

Editing-Joins/Opticals • A. Dissolve

Editing-Joins/Opticals • B. Fades to/from Black/Other Color

C. Wipe • Star Wars

Different type of wipe

Editing-Relation between Shots • • 1. 2. 3. 4. Graphic Rhythmic Spatial Temporal

Editing-Relation between Shots • 1. Graphic • The Purely Pictorial Aspects of A Shot • Mise: Settings, Costumes etc. • Cin: Angle, Distance, Lens etc.

1. Graphic Relations • Smoothly Continuous

1. Graphic Relations • Abruptly Contrasting

1. Graphic Relations • Graphic Match Cut

2. Rhythmic Relations • Length of Shot on Screen-In Frames or Seconds • Steady • Slow Down/Speed Up-Why? • Erratic • Why does Hitchcock vary rhythm here

3. Spatial Relations • Every shot a different space • We assume a space relation between any shot and the next shot • Kuleshov effect

Kuleshov Effect

3. Spatial Relations • Biggest jump-between scenes • Within scenes-Space broken down often via “analytical editing” from wide/long shot to closer angles

4. Temporal Relations • Every shot is in a time relation to next shot • Usually continuous in scenes • Biggest jumps between scenes • Also Flashbacks, Flashforwards

Continuity Editing • • Only one option but…. Powerful Developed in 1910 s in Hollywood Often called Classical Hollywood Continuity Editing • Relates to the 4 shot relations

Continuity Editing-1. Graphic • Shots should have similarities within a scene-Lighting, Costume, Color etc. • But not too close • Audience must know a cut has occurred • Graphic differences greatest between separate scenes

Continuity-Graphic Relations • Smoothly Continuous

Continuity Editing-2. Rhythmic • Greater Shot Length/Length of Take • = • Greater Camera Distance, More Detail to Scan

Long Take/Long Shot

Continuity Editing-2. Rhythmic • Closeups • = • Shorter Take/Shot Length

Continuity Editing-2. Rhythmic • Rhythm speeds up with action • Slows with dialogue

Continuity Editing-3. Spatial • Series of Rules to create a coherent space in a scene • A. 180 degree line • B. Analytical Editing • C. Shot-Reverse shot • D. Matches-MADE • E. Re-Establishing Shot

Continuity Editing-3. Spatial • • • A. 180 degree line Axis of Action “The Line” Center Line Scene has a 360 degree space with line down middle, camera does not cut over the line.

Continuity Editing-3. Spatial • A. 180 degree line

Continuity Editing-3. Spatial • B. Analytical Editing Establishing Shot-Closer Shots

Continuity Editing-3. Spatial

Continuity Editing-3. Spatial • C. Shot-Reverse Shot • Often Over-the-Shoulder

Continuity Editing-3. Spatial • • • D. Matches-MADE Movement or Action Direction Eyeline

Continuity Editing-3. Spatial • D. Matches-MADE • Movement or • Action

Continuity Editing-3. Spatial • D. Matches-MADE Direction-Also exits/entrances of frame

Continuity Editing-3. Spatial • D. Matches-MADE Eyeline

Continuity Editing-3. Spatial E. Re-Establishing Shot

Continuity Editing-4. Temporal • Dissolves, Fades help indicate passage of time • Straight cuts usually are within scenes • Dialogue or Music or Sound can smooth scene transitions or flashbacks and flashforwards

Continuity Editing • Some Refinements • 1. 180 Line-Can be crossed by camera or characters • 2. Point-of-View editing-A Form of Shot-Reverse Shot • From Character Looking to Their Angle of Vision

2. Point of View Editing • What would come next?

Refinements-3. Crosscutting • AKA Parallel Editing • Two spaces • Same Time

Discontinuity Editing • What if the filmmaker wants to create discontinuity, jumpiness? Create fragmented space and time? • 1. They can ignore Continuity Editing Rules • 2. Can Subvert These Rules

2. Subversive Editing • Tweaking Kuleshov-Bruce Conner

2. Subversive Editing • Surrealism • Surrealist Art is Clearly Representational, uses Conventional Pictorial Style-Perspective etc.

Surrealist Painting & Realism • Dali

2. Subversive Editing • Classical Hollywood Continuity editing is the cinematic analogue to representational, conventional painting-Easy to understand, popular • In Cinema-Surrealists often use conventional styles such as Continuity Editing

2. Subversive Editing • BUT---They use them Subversively (Termites!) • To Show Absurd Content as in a Dream • Violent, Sexual Content per Freud. Forbidden Wishes presented in our dreams

2. Subversive Editing • Just as in a Dream or Surrealist Painting, Surrealist Film Style (including Continuity Editing) • Lets us easily see what’s going on, “understand” it even if it’s nonsense • Accept absurdity as plausible reality • Present it in Matter of Fact/Deadpan manner-as if normal

Un Chien Andalou (1929) Luis Bunuel

Un Chien Andalou (1929) Salvador Dali

Un Chien Andalou (1929) The Andalusian Dog Bunuel-Directs, Co-Writes, Acts Salvador Dali-Co-Writer Scandalous when first shown Still shocking

Un Chien Andalou (1929) Watch subversion of Continuity Editing for Surrealist purposes Note Violent/Sexual Images

3. Jump Cuts • Remove Footage from Scene • Have shots less than 30 degrees apart-Looks like Jump not Cut • Pioneered on Breathless (1959) by Jean-Luc Godard

4. Complete Confusion of… • • Space and Time By Jumping around quickly By Unspecified Space and Time Where or When? Unknown or Confusing

Confused Time • Last Year? Today? Yesterday? Tomorrow?

Continuity Editing • Is Just One Way Among Many • Yet it seems “Right” and it certainly makes films easier to understand • A major reason for success and popularity of Hollywood Films once developed in Mid 1910’s