Dmytryk, Edward. On Film Editing: An Introduction to the Art of Film Construction. Boston: Focal, 1984. Print.

In the chapter, “Where It All Began—The Montage 9”, Dymtryk emphasizes the

difference between Hollywood montage and European montage. He uses the example of

“The Odessa steps” where Russian filmmakers of the 1920s edited series of straight cuts

to develop story, situation, and character. He then compares it to the Hollywood montage,

where there is always a transition. He uses the example of viewers identifying that a year

has gone by when they see a montage of a tree through the seasons. By using montages in

movies, viewers are more moved because it is better to tell a story through visuals rather

than hear it. Dmytryk also suggests that a cut will only look smooth if it is made while

the scene is in motion. He goes on to suggest that a change in image size is not required.

One thought on “Dmytryk, Edward. On Film Editing: An Introduction to the Art of Film Construction. Boston: Focal, 1984. Print.

  1. This chapter discusses the importance of cutting with action in film; in a sentence, ‘whenever possible, cut in movement’. It outlines techniques for cutting in movement and action and explains reasons these with detail on audience reactions, with particular emphasis on good screen direction. Furthermore, the chapter speaks about creating an overlap between the cut and the preceding and following shots to cover the viewer’s blind spot, an important skill for maximising the continuity of a sequence.

    This source is invaluable when attempting to understand the theory behind the continuity of action between shots. The theory on the audience’s blind spot in the cut is comprehensive and the chapters explains how to best combat this to create rhythm and continuous action while moving between shots. Dmytryk’s philosophy on screen direction in the chapter is also a solid tool for avoiding a ‘diversion’ of the viewer’s eyes across the screen in the shot and creating a smooth sequence. The chapter’s various theories illuminate how important the planning and execution of both cut and shot are so that no continuity is lost when creating an action sequence. Dmytryk’s explanations are based on a strong understanding of the relationship between the cut and shot in an action sequence and are communicated with a clarity of a man with depth and experience in the field.

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