AntiH Chapter 6 - Chapter 6 The Relation of Shot to Shot...

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Chapter 6 – The Relation of Shot to Shot: Editing Editing! 1000 – 2000 shots per movie ordinarily Action = 3000+ shots What is it? “The coordination of one shot with the next” Joins: can be from fade-out, fade-in, dissolve, wipe, or cut (most common) - Sometimes cuts are made in the actual process of filming. It is most common, however to do this step in the filmmaking later in the editing process digitally or with tape and cement. [ The Birds Example] Movies today are shot with many cameras simultaneously. Shots are taken with an idea of how they will eventually end up being edited in the final cut (storyboards). Dimensions of Film Editing Four areas of choice and control: 1. Graphic relations between shot A and B 2. Rhythmic relations between shot A and B 3. Spatial “ ” 4. Temporal “ ” Graphic and rhythmic are present in the editing of any film. Spatial and temporal may be irrelevant to abstract films; they are present in the great majority of non-abstract films. [Birds Example] GRAPHIC RELATIONS
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The filmmaker may link shots by graphic similarities, yielding a graphic match . -Filmmakers often call attention to graphic matches at transitional moments. -The director will usually strive to keep the center of interest roughly consistent across the cut, to maintain the overall lighting level and to avoid strong color clashes from shot to shot. -Though editing need not be graphically continuous. Mildly discontinuous editing may appear in a wide-screen composition organized around characters facing one another (Wes Anderson’s dialogue scenes and Pulp Fiction) *Orson Welles constantly tried to contrast light and dark scenes in Citizen Kane -A director may call on editing to create a graphic contrast between color qualities. [ Paris, Texas and The Birds ] [Birds Example yet again!] RHYTHMIC RELATIONS (dumb stats) -When a filmmaker adjusts the length of shots in relation to one another, he is controlling the rhythmic potential of editing. -The filmmaker relies on movement in the mese-en-scene, camera position/movement, the sound and it’s rhythm, and the overall context to determine the editing rhythm. -But shot lengths are most important… -Shot length = stress, accented moment (The Road Warrior) -Shot length = deaccentuate the action (Raiders of the Lost Arc) -All shots approximate same length = steady beat established -Gradually lengthening = slow the tempo [The Birds] -By controlling editing and rhythem, we control the amount of time the audience has to reflect on things. -Rapid = no time [The Birds]
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This note was uploaded on 04/07/2008 for the course ENGL ENGL-H295- taught by Professor Mccormack during the Spring '08 term at Loyola New Orleans.

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AntiH Chapter 6 - Chapter 6 The Relation of Shot to Shot...

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