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Editing Why do we edit?

Cuts

Time

Space

Rhythm

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Editing The 180r Rule Continuity editing relies upon

matching screen direction, position,and temporal relations from shot to

shot. The film supports the viewer'sassumption that space and time arecontiguous between successiveshots

The axis of action is an imaginaryline drawn between the two major

dramatic elements A and B in ascene, usually two characters

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Editing

Right

Wrong

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Editing By following this rule the

filmmaker ensures thateach character occupiesa consistent area of the

frame, helping theaudience to understandthe layout of the scene.This sense of aconsistent space isreinforced by the use of

techniques such as theeyeline match or matchon action

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Editing Shot/Reverse Shot

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Editing Eyeline Match

A cut obeying the axis of action principle, inwhich the first shot shows a person off in one

direction and the second shows a nearbyspace containing what he or she sees. If theperson looks left, the following shot should

imply that the looker is offscreen right.

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Editing

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EditingMatch on Action

A cut which splices two different

views of the same action together

at the same moment in the

movement, making it seem to

continue uninterrupted.

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Editing

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Editing

An elliptical cut that appears to be an

interruption of a single shot. Either the figures

seem to change instantly against a constant

background, or the background changes

instantly while the figures remain constant.

Jump Cut

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Editing Graphic Match

Two successive shots

joined so as to create a

strong similarity of

compositional elements

(e.g., color, shape).

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Editing Overlapping Editing

Cuts that repeat part or

all of an action, thus

expanding its viewing

time and plot duration

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Editing Rhythm

The perceived rate and

regularity of sounds,

series of shots, and

movements within the

shots. Rhythmic factors

include beat (or pulse),

accent (or stress), and

tempo (or pace). Rhythmis one of the essential

features of a film, for it

decisively contributes to

its mood and overall

impression on the

spectator.

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North byNorthwest

Crop Duster Scene

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EditingMontage

1. A synonym forediting.

2. An approach to editing

developed by the Sovietfilmmakers of the 1920ssuch as Pudovkin, Vertovand Eisenstein; itemphasizes dynamic, oftendiscontinuous, relationships

between shots and thejuxtaposition of images tocreate ideas not present ineither shot by itself

Potemkin

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Editing Rashomon, 1950 Dir. By Akira Kurosawa, starring

Toshiro Mifune

Mifune on Kurosawa "I am proud of

nothing I have done other than with

him."

Early film in Kurosawas long

career

Studio head disliked it so much,

he had his name removed from

the credits Credited with opening Japanese

Cinema to the West

Story of reality and flashbacks

has been borrowed often

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Editing Multiple cameras running Shooting into the sun

Visual texture watch the rain

Mirrors to reflect the light on the

actors Crosses the axis repeatedly (the

3 person stand off)

Graphic matches

Use of the wipe

Over 400 shots thats a lot Cuts on motion one action,

multiple shots

Harks back to silent film &

Japanese theatrical style

Rashomon Sequence Analysis

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Editing The Rashomon Effect The subjectivity of perception from

visual anthropologist Karl Heider

Countless movies and television shows

have remade Rashomon by

incorporating the contradictory

flashbacks of unreliable narrators.

Steven Prince forThe Criterion

Collection

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EditingAkira Kurosawa, 1910-1998One of the most successful

Japanese directors in the West

Trained as a painter all the

storyboards forR

an are fullpaintings

One Lifetime Achievement Oscar

Best Foreign Film Oscars for

Rashomon & Dersu Uzala

Films include:

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Editing

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Editing

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Ran & Kagemusha

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Ran

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EditingToshir Mifune, 1920-1997The samurai or ronin

Made 16 films with Kurosawa

Machiko Ky, 1924-

Still performs in Japanese

theater

Masayuki Mori, 1911-1973

Takashi Shimura, 1905-1982

Made 21 films with Kurosawa

(see Ikiru) as well as some

Godzilla films

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EditingHuman beings are unable to be honest with themselvesabout themselves. They cannot talk about themselves

without embellishing. This script portrays such human

beingsthe kind who cannot survive without lies to make

them feel they are better people than they really are. It

even shows this sinful need for flattering falsehoodgoing beyond the graveeven the character who dies

cannot give up his lies when he speaks to the living

through a medium. Egoism is a sin the human being

carries with him from birth; it is the most difficult to

redeem. This film is like a strange picture scroll that is

unrolled and displayed by the ego. You say that you

cant understand this script at all, but that is because thehuman heart itself is impossible to understand. If you

focus on the impossibility of truly understanding human

psychology and read the script one more time, I think

you will grasp the point of it.

Kurosawa forThe Criterion Collection