Graphic match 1 44 https www youtube comwatch

Graphic match: (1. 44) https: //www. youtube. com/watch? v=qtb. Omp. Tny. Oc Parallel editing: https: //www. youtube. com/watch? v=Ts 1 x 6 u. ADFt. M https: //www. youtube. com/watch? v=S_I 82117 o. Aw Overlapping editing: http: //www. criticalcommons. org/Members/ogaycken/clips/potemkinoverlap. mp 4/view & at 2. 43 mark https: //www. youtube. com/watch? v=7 ja. S 8 d. UBUSI http: //www. criticalcommons. org/Members/ogaycken/clips/limeyoverlap. mp 4/view https: //www. youtube. com/watch? v=18 g. HV 15 i. NLE • SHOW Hitchcock clip • http: //www. youtube. com/watch? v=h. CAE 0 t 6 Kw. JY 1 180 degree rule https: //www. youtube. com/watch? v=Hdyyuqm. CW 14 https: //www. youtube. com/watch? v=y 4 w. X_dmh 8_g Match on action https: //www. youtube. com/watch? v=Mv 93 covb 53 w Dissolve https: //www. youtube. com/watch? v=DTPct. Dh. OCz. E Wipe

Accessing Films through Joyner To watch a free and legal streaming copy of this week's film, follow these steps: 1. go to www. ecu. edu 2. click on "libraries" (http: //www. ecu. edu/libraries) 3. look for the "one search" bar and select the option "Database List" (https: //lib. ecu. edu/databases/) 4. at this point you should be prompted to log into the system with your ECU name and password. The url bar should have a "lock" icon in it, indicating that you have signed in. 5. Search for "Swank" under "search for databases by name. " Again, you can only access this if you have logged into the ecu server. This will take you to the streaming platform (http: //digitalcampus. swankmp. net. jproxy. lib. ecu. edu/ecudatabase) 6. Search for "Casablanca" (http: //digitalcampus. swankmp. net. jproxy. lib. ecu. edu/ecudatabase#/play/2 231)

Classical Hollywood Cinema Narrative and Editing

Classical Hollywood Cinema -films made during the reign of the studio system and after (~1917 -1960) -these films share similar approaches to storytelling -this style is the result of the production structures of the Studio System

Goals of Classical Hollywood Cinema Editing (aka, continuity editing/invisible editing) -to fully control where the audience looks and what we see at all times -to make editing as unobtrusive (i. e. , NOT noticeable) ad possible -when we don’t notice the cuts between shots we can better concentrate on the STORY

Goals of Classical Hollywood Narratives 1. Characters are clearly defined, causal agents 2. Plots center around a clearly defined goal 3. Time is subordinated to plot 4. Plots are structured around cause & effect 5. Closure!

Classical Hollywood Cinema -these films also share similar approaches to editing, known as: Continuity editing Invisible editing Classical Hollywood editing -this editing style helps CHC films achieve their goals of focusing the viewer’s attention just on the plot or story of the film

WHAT IS EDITING? • editing is the joining of one shot to another shot

WHAT IS A SHOT? • a shot is an uninterrupted length of film • a shot is one or more exposed frames in a series on a continuous length of film stock One shot consisting of 2 frames 2 shots edited together (only the final frame of one shot and first frame of the next shot are visible)

A SCENE IS NOT A SHOT! What is a shot? • a series of frames that runs for an uninterrupted period of time What is a scene? • a part of the film taking place in one time and in one space • Generally (but not always), scenes are made up of multiple shots

Cutting & Splicing

Moviola

Digital Editing

different joins are used for different purposes: • a fade is meant to signify that a significant period of time has passed • a dissolve also indicates that some time has passed • a cut can signify that no time has passed but it can also be used to transition between 2 scenes taking place many years apart

Dissolve

Wipe

Iris out

Cut

1. Spatial Relations • editing is also used to construct film space • editing permits the filmmaker to juxtapose any 2 points in space and imply some kind of relationship between them • Example: Kuleshov Effect

The Kuleshov Effect any series of shots that in the absence of an establishing shot (which would show the whole space), prompts the spectator to infer a spatial whole on the basis of seeing only portions of the space joined by editing

2. Temporal Relations • editing is also used to manipulate the order, duration and frequency of story time • many ways to control and manipulate time through editing: elliptical editing overlapping editing Montage Flashback Flashforward

screen time: the amount of time an action takes on the screen, as we see it story time: the amount of time this action would actually take in the story Example: in story time the act of brushing your teeth may take 3 minutes In screen time this act will take 15 seconds Elliptical editing: Screen time < Story time Overlapping Editing: Screen time > Story time

3. Rhythmic relations • Joining pieces of film together based on rhythmic demands • a shot has an onscreen duration • a shot can last a few seconds, a few minutes, or even hours (see Russian Ark) • therefore a filmmaker might take into account the duration of shots when editing these shots together

CONTENT CURVE

4. Graphic relations an editor will often put 2 shots together based upon their graphic properties rather than narrative needs Example: Graphic match

Continuity Editing is ONE KIND OF EDITING (we will discuss DISCONTINUITY EDITING next week)

Common Continuity or Invisible Editing Techniques: • • • Axis of action / 180 degree line 180 degree rule screen direction establishing shot/reverse shot reestablishing shot eyeline match cut match on action (match cut) graphic match (match cut) crosscutting/parallel editing vs intercutting montage sequence

filmmakers use the 180 degree system/ obey the 180 degree rule to ensure that the relative positions of characters or objects in the frame remain consistent from shot to shot

the 180 degree rule is also used to maintain consistent screen direction and consistent eyeline matches Establishing shot 180 degree line Shot Reverse Shot

Contiguity editing RIGHT WRONG

MATCH ON ACTION • editing device that carries movement across a cut • ensures spatial continuity and invisibility of editing

Eyeline Match Our desire to see what the character is looking at (i. e. , to follow his eyeline) masks the cut

Crosscutting/ Parallel Editing • cutting between actions happening at the same time but that are not occurring in the same space