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Editing Part II

by: Mitchell Jones

Editing Part II ETS 154 - M001

Mitchell Jones
Interpretation of Film
R. Hallas

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About this Document

This is the second part of the editing notes
Interpretation of Film
R. Hallas
Class Notes
editing, interpretation of film, ETS 154, syracuse
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This 3 page Class Notes was uploaded by Mitchell Jones on Friday October 2, 2015. The Class Notes belongs to ETS 154 - M001 at Syracuse University taught by R. Hallas in Fall 2015. Since its upload, it has received 17 views. For similar materials see Interpretation of Film in Foreign Language at Syracuse University.

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Date Created: 10/02/15
Editing Part II Continuity editing constructs continuity in time in space know where and when we are clear and coherent story telling editing supposed to be invisible unnoticeable Disjunctive editing calls attention to the editing for aesthetic reasons and the play of the form to rethink perception of the world time or space for ideological reasons to compare and contrast components for psychological purposes to articulate trauma works to distort disorientate audience The Big Sleep Door in same place beginning and end of scene continuous Eyematch seen throughout Shotreverseshot used during conversation Relationship of on and off screen 180 degree rule never broken but constantly changing and moving adds exibility to staging on scene Axis of action moves as Marlo moves throughout scene Montage French word for editing Continuity editing montage sequences compress narrative time In films time has to be compressed Actual time does not align with film time events in movie can take place over days or years but film is only 2 hours Disjunctive intellectual montage produces meaning through combination of shots Gladiator Editing is disorienting The action is paralleled by editing makes it more exciting Focuses on sound Horse riding maintains continuity in motion Close ups of horses hooves show the speed of motion suggests urgency Moon close up suggests passage of time cut away Time becomes ambiguous once he reaches his house Parallel action of him on horse and his family Dissolve then used shows grave then him passed out on grave Depicts psychological trauma Cut to black shows unconsciousness Time lapse of sun tracking through sky Dreams of anxiety Montage in disjunctive editing Battleship Potemkin Bolshevik revolution promoted artistic creativity Eisenstein Con ict of vertical movement Con ict of lateral movement and lines Con ict of scale camera distance Rhythm of repetitive action Articulates Violence Movement created from stasis of editing Use of three different statues to make it appear as if it is moving


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