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CTCS 190 Week 6 Notes

by: Emma Morrissey

CTCS 190 Week 6 Notes CTCS 190

Emma Morrissey
GPA 4.0

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About this Document

The formal aspect of editing spatial organization temporal duration relationships and preservation of connection modes of transportation terms thesis
Introduction to Cinema
Drew Casper
Class Notes
IntroductionToCinema, CTCS190, Casper, DrewCasper, usc
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This 4 page Class Notes was uploaded by Emma Morrissey on Saturday October 1, 2016. The Class Notes belongs to CTCS 190 at University of Southern California taught by Drew Casper in Fall 2016. Since its upload, it has received 9 views. For similar materials see Introduction to Cinema in Cinema And Media Studies at University of Southern California.

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Date Created: 10/01/16
Formal Aspect Editing ● The editor and the director work together to show the spatial organization in a work ○ Start when content begins to rise ○ Stop when the audience has assimilated important information ● Spatial Organization is the “movement” of time; pace ○ Plays fast with ■ Wide camera shots- more to see ■ Gestures, moving- more to see ○ Plays slow when ■ Small camera shots ■ Little to no movement ● Temporal Duration ○ Basic length of temporal length is a shot ○ Shots make up scenes ○ Scenes make up sequences ■ Sequences end with new developments in the plot ● Relationships between shots/scenes/sequences ○ Basic movement in motion picture ■ Movement of characters, colors, decor, within the frame ■ Movement outside of the frame ■ Movement from shot to shot ● Lots of shots=faster, chaotic ○ Rhythm (created from pace tempo timing) ■ A pattern of beats; repeated in recurring patterns ■ Experience poly-rhythmically within and outside of self ○ There may be breaks between shots, but there is still a link preserved, still connected, still continuous ■ Space and time can be broken in a film without breaking the flow of the story ● Space and time are not broken up in real life ● Theater does not break up space ● To give the impression of life, the shots must be connected ■ How to preserve connection ● Respect the stage line ○ Imaginary 180 degree line semicircle ● If changing perspective (change in angle or image size), need a good reason ○ If moving, change the angle as well ● Use the same directions between shots ○ Cut the shot while walking in same directions ● Shapes should match ○ Shot A = circle, Shot B = diamond -- Pops ○ Closed umbrella to Eiffel Tower -- works ● Shot and reverse shot ○ EX: In conversation, show each character in same way from other character’s perspective ■ To create suspense, conflict, interruption, to show that it is film and not life, remove from life, awareness of fiction ● Break the tradition ○ Change in rhythm makes audience uncomfortable ○ How to string together ■ When filmed in one shot, it is much like theater (boring) ● Can cut out space and therefore time (they are correlative) ● Films prefer to get to the point ● More sophisticated to fragment the scene to emphasize and dramatize classic cutting ● Get a view that is not possible to have in real life by fragmenting ○ Perspectivation: If two people are in the scene, don’t give them the same image size ■ Need to be able to tell the distance between character ○ Displacement: losing a shoe between shots ○ Speakers should have same 5 degrees off camera ○ Introduction and resolution: Give an overview ● Shots that add intensity and drama ○ Action and detail of the action ○ Action and emotional reaction ○ Action and cut away from the action ○ Multiple points of view of same action ● Cross cutting to show connection between two shots ○ Same time same place ○ Same time different place ○ Same place different time ○ Different time different place ○ “It is not the shot that is important, but the connection or juxtaposition of shots that is important and manipulates audience” - Collision montage ○ Mode of transition between scenes ■ A direct cut ● Most immediate, makes time move fast ■ A Dissolve ● One scene merges/melts into another, shot affects shot ■ Fade in, fade out ● Light to black/ black to light to give audience break or introduce new sequence ■ 2+ shots together ● Chaos, causality, relationships between them ○ Setting: mood and atmosphere, when and where ■ Temporal setting: duration, season, period ● Psychological or experience time ■ We experience space subjectively ● Editing approximates this ○ Mise en scene ■ The use, arrangement, organization of elements in a frame such as one player with another player in terms of every element of the decor (walls, set dressing, lighting, props) in terms of framing within and outside of space, in terms of staging, in terms of camera movement, according to a distinct setting of time ■ The art of directing performance, composition, visual design, editing (the use of the last four lecture materials) ● Important terms in Temporal Design (Editing) ○ Theatrical Editing- No editing. One cut, one camera angle ○ Continuity Editing ■ Rhythm ■ Eyeline Match: When one person is looking to the left and the next shot shows someone looking to the right, they look like they’re looking at each other ■ 180 degree system: Two+ things in the same space ■ Shot/Reverse Shot: Way of lining up 2 things, relationship between shots, not the space ■ Match on Action: Shots of similar actions being done by two different characters ■ Jump Cut: Youtube vlogs use this ■ Classical Cutting ● Perspectivization ● Establishment/Resolution shot ○ Collision/Soviet Montage: The use of editing to create meaning within film. Gaining meaning out of juxtaposition ○ Thematic Montage: A series of shots that creates a feeling. Connected by theme ○ Hollywood Montage/Montage sequence: Moves the plot forward while condensing space and time ● Thesis statements ○ One to two sentences in length ○ Shows specific argument ○ Should be a road map ■ The reader should be able to predict how you arrive to your conclusion ○ Presents a very specific argument ○ Why does it matter


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