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IntensifiedCon,nuityEdi,ng
Presenta,onbyMariaElenadelasCarreras,Ph.D.
NewYorkFilmAcademyLosAngelesCampus
Friday,April29,2011
Edi,ng
1. Thetaskofselec,ngandjoiningcameratakes2.Thesetoftechniquesthatgovernstherela,onsamongshots
D.W.GriffithOneofthemostinfluen,alfilmmakersinthedevelopmentofcinemaasanart.Bymid-1910shadintroducedallthebasicconceptsofedi,ng:- CuVngforcon,nuity- ParallelcuVng- Juxtaposi,onofshotsandsequencesUsededi,ngto-breakdownscenesinshotsfromdifferentangles&distances-build&controlnarra,on&emo,onaltempo-createsuspense-drama,zepointofview
SovietMontage
UsingGriffithasamodel,theRussiansdevelopedthetheory&prac,ceofmontageinthe1920s
Montageemphasizesdynamic,o_endiscon,nuous,
rela,onshipsbetweenshotsandthejuxtaposi,onofimagestocreateideasnotpresentineithershotbyitself
Con,nuityEdi,ngAlsoknownasinvisiblecu0ngoredi2ngforcon2nuitySystemofcuVngtomaintaincon,nuous&clearnarra,ve
ac,onRelieson-matchingscreendirec,on-posi,on-temporalrela,onsfromshottoshotTechniquesofcon,nuityedi,ng-axisofac,on-eyelinematch-establishingshot-matchonac,on-screendirec,on-shot/reverseshot
TechniquesofCon,nuityEdi,ng
Con,nuityedi,ngbecomesintensifiedCon,nuityedi,ngreliesonbreakingasceneintomatchedshots
inordertohighlightcharacterac,onandreac,on.Inplacebythelate1910s,itbecamethedominantapproachto
mass-marketfilmmakingacrosstheworldSince1960stheedi,ngstylethatcomestodominateUSfilms
canbedescribedasintensifiedcon2nuity(DavidBordwell)
Characteris,csofintensifiedcon,nuity
- Averagelengthofshot,shorter2-4seconds- Scenesarebuiltupbycloserframing- Moreextremefocallengthsareused- Thescenesincludeanincreasednumberofcameramoves- Deepfocushasbecomelesscommon- Mastershotswheretwoormorecharacterstalkareoutof
fashion- Tostageawholesceneinoneshotisnolongercommon
ThreeEditorsthatshapedthestyle
VernaFields(1918-1982)MediumCool,PaperMoon,AmericanGraffi4,JawsDedeAllen(1923-2010)TheHustler,BonnieandClyde,Reds,TheMilagroBeanfieldWarSallyMenke(1953-2010)ReservoirDogs,PulpFic4on,KillBill,InglouriousBasterds
Academicapproachtointensifiedcon,nuity
FilmscholarDavidBordwellhastrackedthesechangesinTheWayHollywoodTellsIt(2006),acompanionpiecetoTheClassicalHollywoodCinema(1985),co-authoredwithKris,nThompson&JanetStaiger.
Bordwellshowstheunderlyingcon,nuityoftheHollywood
system,butalsodemonstrateshowcontemporaryfilmsrefine,elaborate,andrethinkthetradi,on.
Intensifiedcon,nuityisonesuchchange.
Casestudy:TheShoparoundtheCorner(1940)&You’veGotMail(1994)
Parallelscenesfromtwofilms–anoriginalbyErnstLubitsch&itsremakebyNoraEphron–illustratethetwoedi,ngstyles.
Cafésequenceinbothfilms–roughlysamelength:8minutesShotbreakdown1. Outsidethecafé–Lubitsch,2shots;Ephron,41Averageshot:Lubitsch,82seconds;Ephron,4.31. Insidethecafé–Lubitsch,14shots;Ephron,84Averageshot:Lubitsch,21seconds;Ephron,4.3
Classicvs.NewContras,ngac,ngstyles:longershotsallowssubtleuseof
languageinLubitsch.InEphron,ac,ngisdonewithfaces.Subtlety,drama,cpausesinShop;broadgesturinginYou’veGotMail.
Lubitschusescloseshotssparingly.Hesavesthemtoshowthe
couplesquabbling.Thischoicehasagrada,oneffectandbuildstheemo,onalclimaxofthesequence.
OtherDifferences
Lubitschusesmusicdiege,cally,withcomiceffect,rela,ngittoprevioussequences.Ephroninsertsnon-diege,cmusictooverplayemo,ons.
ThefastcuVng&relianceonOTS&singlesshotsinEphron
createafran,cpacethatcontrastswithLubitsch’sinsighoulcharacteriza,on.
N.B.Thecasestudyofthispresenta,onisbasedonDavidBordwell’sessay‘Intensifiedcon,nuityrevisited’,availableonhisblog,Observa4onsonfilmart,datedMay27,2007.hrp://www.davidbordwell.net/blog/2007/05/27/intensified-con,nuity-revisited/
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