Bordwell, D., Thompson, K. and Ashton, J., 1997. Film art: An introduction (Vol. 7). New York: McGraw-Hill. (pp.218-240)
2 thoughts on “Bordwell, D., Thompson, K. and Ashton, J., 1997. Film art: An introduction (Vol. 7). New York: McGraw-Hill. (pp.218-240)”
In the chapter “The Relation of Shot to Shot: Editing” the author emphasizes on the effect of editing, which can help the film achieve a variety of purposes and also serves a key in determining whether a film can be regarded as a good one. Joins are an important trait to editing, fade-out, fade-in, dissolve are three major expressions. Cut serves as the common join between two shots. Instead of fade-out, fade-in, dissolve which are smooth transitions of the film, cut seems to be more an abrupt change from one shot into another. Therefore, it proves to the point that editing does not necessarily need to be graphically continuous.
In this article, the author claims the dimensions of film editing. Basically, filmmakers have four usual areas of choice in editing. The first one is the graphic relations between two different shots. Filmmaker can use this relation to achieve smooth continuity or abrupt contrast, such as using the graphic match and or graphic contrast. Sometimes the graphically discontinuous editing can be more interesting. The second relation is about rhythm. Director can change the shot duration to emphasize specific event or emotion. Then, the spatial relation between two shots has been used so well Kuleshov effect. He had not chosen use wide shot to establish the space, otherwise, he use several single shots to construct the space. The final one is temporal relation between shots. Change the order of the shots may show more information, such as the usage of flashback and flash-forward. Also, the elliptical editing and overlapping editing can be used to condense or expands duration, so that they can stress the signifiacant moment.
In the chapter “The Relation of Shot to Shot: Editing” the author emphasizes on the effect of editing, which can help the film achieve a variety of purposes and also serves a key in determining whether a film can be regarded as a good one. Joins are an important trait to editing, fade-out, fade-in, dissolve are three major expressions. Cut serves as the common join between two shots. Instead of fade-out, fade-in, dissolve which are smooth transitions of the film, cut seems to be more an abrupt change from one shot into another. Therefore, it proves to the point that editing does not necessarily need to be graphically continuous.
In this article, the author claims the dimensions of film editing. Basically, filmmakers have four usual areas of choice in editing. The first one is the graphic relations between two different shots. Filmmaker can use this relation to achieve smooth continuity or abrupt contrast, such as using the graphic match and or graphic contrast. Sometimes the graphically discontinuous editing can be more interesting. The second relation is about rhythm. Director can change the shot duration to emphasize specific event or emotion. Then, the spatial relation between two shots has been used so well Kuleshov effect. He had not chosen use wide shot to establish the space, otherwise, he use several single shots to construct the space. The final one is temporal relation between shots. Change the order of the shots may show more information, such as the usage of flashback and flash-forward. Also, the elliptical editing and overlapping editing can be used to condense or expands duration, so that they can stress the signifiacant moment.