Dmytryk, E 1984, On Film Editing, Focal Press, MA USA, pp. 27-33.
One thought on “Dmytryk, E 1984, On Film Editing, Focal Press, MA USA, pp. 27-33.”
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.
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.