film language - editing

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    26-Jun-2015

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  • 1. How could you organise these photos to tell a story?

2. To be able to understand the way meaning is created through editing.Editing is the basic creative force,by power of which the soullessphotographs (the separate shots)are engineered into living, cinematicform.V.I.Pudovkindirector 3. To be able to understand the way meaning is created through editing.Level 2 D/EBasic use of editing so that meaning is apparentto the viewer.Basic selection and use of shot transitions andother effects.Level 3 B/CProficient use of editing so that meaning isapparent to the viewer.Proficient selection and use of shot transitionsand other effects.Level 4 AExcellent use of editing so that meaning isapparent to the viewer.Excellent selection and use of shot transitionsand other effects. 4. To be able to understand the way meaning is created through editing. 5. To be able to understand the way meaning is created through editing.Editing together any two shots permits the interaction, through similarityor difference, of the purely pictorial qualities of those two shots.Every shot provides possibiities for purely graphic editing through Lighting Setting Costume Actors Framing Camera MobilityGraphics may be edited to achieve smooth continuity or abrupt contrast.Shots linked by graphic similarities are called a graphic match.Shapes, colours, overall composition or movement in shot A may bepicked up in the composition of shot B. 6. To be able to understand the way meaning is created through editing.Here there is a closematch on both shapeand colour, easing theaudience across bothspace and time. 7. To be able to understand the way meaning is created through editing.In this shotthe actionprovides thematch, aswell as theshape of thetwo objects.Note thatthere is amarkeddifference incolour. 8. To be able to understand the way meaning is created through editing.Here there is a graphic discontinuity. However the cut doesbalance the frame area from shot to shot Each man fills thespace left empty in the previous shot and each face is justabove the horizontal central line so the spectators eye caneasily adjust to the changing composition. 9. To be able to understand the way meaning is created through editing.Film speed = 24 frames per secondA shot can be as short as a single frame or it may be a thousand frameslong, lasting for many minutes. When a filmmaker adjusts the length ofshots in relation to one another, she or he is controlling the rhythmicpotential of editing.A steady beat can be established by making all of the shots approximatelythe same length. The filmmaker can also create a dynamic pace.Lengthening shots can gradually slow the tempo, while successivelyshorter shots can accelerate it. 10. To be able to understand the way meaning is created through editing.In 1918 a Russian filmmaker, Lev Kuleshov,experimented with montage by editing togethershots of an actors face with a shot of some food, ashot of a dead woman and a shot of a child. Althoughthe actors expression never changed, the audiencesaid that he first looked hungry, then sad and thenaffectionate.What happens between shots happens between your earswww.davidbordwell.net/blog/?p=1861 11. To be able to understand the way meaning is created through editing.Editing permits the filmmaker to juxtapose any two points in space andthus imply some kind of relationship between them.The director might star with a shot that establishes a spatial whole andfollow this with a part of this space. Alternatively they could construct awhole space out of component parts.In The Godfather, FrancisFord Coppola usescrosscutting to juxtaposeMichael Corleonesdenouncement of the devilwith the murders he hasordered, linking differentspaces with one charactersintent. 12. To be able to understand the way meaning is created through editing.Editing can control the time of the action denoted in the film andcontributes to the plots manipulation of story time.Elliptical Editing:A dissolve, wipe or fade can indicate that time has been omitted. It canalso be done with straight cuts or cutaways. 13. To be able to understand the way meaning is created through editing.It is also possible to expand story time. If the action from one shot isrepeated at the beginning of the next, we have overlapping editing. 14. To be able to understand the way meaning is created through editing. Crossing the 180 degree line (Psycho Alfred Hitchcock,1960) Assembly Editing (Psycho Alfred Hitchcock, 1960) The Long Take (Goodfellas Martin scorcese, 1978 andTouch of Evil Orson Welles, 1943) Split Screen (Kill Bill Vol. 1 Quentin Tarantino, 2005)