Editing Lecture
Transcript of Editing Lecture
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Editing
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CUT
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CUT
Is the joining of two separate shots
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CUT
Is the joining of two separate shots
So that the first shot is instantaneously replaced by the second
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HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING
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HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING
MID 1890s
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HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING
MID 1890s - Lumiere Brothers invented the Cinematograph
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Lumiere Bros. Cinematograph: camera, projector, developing machine
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HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph
- Lumiere Bros. (Auguste & Louis) early films contained no editing
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HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph
- Lumiere Bros. (Auguste & Louis) early films contained no editing
- Single-shot recordings (sequence shots)
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HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph
- Lumiere Bros. (Auguste & Louis) early films contained no editing
- Single-shot recordings (sequence shots)
- Lasted the duration of one roll of film (1-2 minutes)
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HISTORICAL AND AESTHETIC DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph
- Lumiere Bros. (Auguste & Louis) early films contained no editing
- Single-shot recordings (sequence shots)
- Lasted the duration of one roll of film (1-2 minutes)
-The duration of the shots and the event were equal
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George Melies created episodic films by connecting shots: cutting to continuity
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George Melies created episodic films by connecting shots: cutting to continuity
- Editing and camera placement still based on live theatre
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George Melies created episodic films by connecting shots: cutting to continuity
- Editing and camera placement still based on live theatre
- Camera is stationary, outside of the action
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George Melies created episodic films by connecting shots: cutting to continuity
- Editing and camera placement still based on live theatre
- Camera is stationary, outside of the action
-Similar to curtain coming down and opening in a new location
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“Continuity cutting tries to preserve the fluidity of an event without literally showing all of it” (Giannetti)
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1903-Edwin S. Porter made Life of an American Fireman and The Great Train Robbery
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1903-Edwin S. Porter made Life of an American Fireman and The Great Train Robbery
- Porter used editing to create parallel action
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1903-Edwin S. Porter made Life of an AmericanFireman and The Great Train Robbery
- Porter used editing to create parallel action
- Shots are not linear - shot B does not pick up where shot A left off – linked instead by the continuity of an IDEA
The Great Train Robbery (1903), Edwin S. Porter
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1915 “The Father of Filmmaking”- D. W. Griffith makes The Birth of a Nation
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1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation
-Classical cutting
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1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation
-Classical cutting
-Editing within scene to vary dramatic intensity
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1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation
-Classical cutting
-Editing within scene to vary dramatic intensity
-Expand visual explanation-
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1915 “The Father of Filmmaking” -D. W. Griffith makes The Birth of a Nation
-Classical cutting -Editing within scene to vary dramatic intensity
-Expand visual explanation--juxtaposing long shots,
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1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation
-Classical cutting -Editing within scene to vary dramatic intensity
-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc.
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1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation
-Classical cutting -Editing within scene to vary dramatic intensity
-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc. - varying the length of shots
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1915 “The Father of Filmmaking”-D. W. Griffith makes The Birth of a Nation
-Classical cutting -Editing within scene to vary dramatic intensity
-Expand visual explanation--juxtaposing long shots, -medium shots, close ups, etc. - varying the length of shots -shifting the attention within a scene
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CONTINUITY EDITING:
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CONTINUITY EDITING:
Designed to make editing INVISIBLE
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CONTINUITY EDITING:
Designed to make editing INVISIBLE
- cutting on action: action begins in one shot and ends in another
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CONTINUITY EDITING:
Designed to make editing INVISIBLE
- cutting on action: action begins in one shot and ends in another
- cutting on dialogue: motivated by whoever is talking (or listening)
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CONTINUITY EDITING:
Designed to make editing INVISIBLE
- cutting on action: action begins in one shot and ends in another
- cutting on dialogue: motivated by whoever is talking (or listening)
- cut on the glance: edit follows the eyes of a character
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CONTINUITY EDITING:
Master shot: A long shot of the entire action without cuts.
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CONTINUITY EDITING:
Master shot: A long shot of the entire action without cuts.
The action is then repeated a number to times using medium shots, close ups, etc.
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CONTINUITY EDITING:
Master shot: A long shot of the entire action without cuts.
The action is then repeated a number to times using medium shots, close ups, etc.
Without a master shot editors many not have adequate footage
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This end the 1st part of the editing lecture
• The slides after this will be covered in the second week of editing.
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• The Russians *scene 6
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Moscow Film School used film as propaganda
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Moscow Film School used film as propagandaTheir editing style was in direct opposition to American classical cutting
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Moscow Film School used film as propaganda
Their editing style was in direct opposition to American classical cutting
Soviets believed that the power was in the juxtaposition
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Moscow Film School used film as propagandaTheir editing style was in direct opposition to American classical cuttingSoviets believed that the power was in the juxtapositionCuts called attention to themselves
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Moscow Film School used film as propagandaTheir editing style was in direct opposition to American classical cuttingSoviets believed that the power was in the juxtapositionCuts called attention to themselvesThe meaning was made in the edit
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1920s- Lev Kuleshov, Soviet film theorist
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1920s- Lev Kuleshov, Soviet film theorist
- Experimented with juxtaposition
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1920s- Lev Kuleshov, Soviet film theorist
- Experimented with juxtaposition
- Shots cut together to create ideas not contained in either shot on its own
= meaning through editing
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1920s- Lev Kuleshov, Soviet film theorist
- Experimented with juxtaposition
- Shots cut together to create ideas not contained in either shot on its own
= meaning through editing
MONTAGE EDITING
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MONTAGE EDITING
Sergei Eisenstein
Sergei Eisenstein
- shots COLLIDE to make meaning
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MONTAGE EDITING
Sergei Eisenstein
- shots COLLIDE to make meaning
-often fragmenting time and space
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MONTAGE EDITING
Sergei Eisenstein
- shots COLLIDE to make meaning
-often fragmenting time and space
- montage calls attention to itself, unlike Continuity editing
-the contrast and conflict of images
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SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES
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SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES
- “MTV Generation” - grew up watching 30 second TV commercials, and rapidly-edited music videos
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SHORT ATTENTION SPAN:MTV/30 SEC. COMMERCIAL INFLUENCES
- “MTV Generation” - grew up watching 30 second TV commercials, and rapidly-edited music videos
- Shots often last a second or two (or less)