Nothelfer, C.E., DeLong, J.E. and Cutting, J.E., 2009. Shot structure in Hollywood film. Indiana University Undergraduate Journal of Cognitive Science, 4, pp.103-113.
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In the chapter, the author puts forward that the major distinction between a cut and a shot is that a cut is “a transition between two shots” and such transitions can take a variety of different patterns. It can be an abrupt one that the audience feels rather unprepared and yet and it can be a natural one which smoothly dissolves into the later development of the film. Because of such distinction, the notion of “hard cuts” and “soft cuts” are thus generated. The author also makes an assumption that the shot lengths may decrease in the future.
In the chapter, the author puts forward that the major distinction between a cut and a shot is that a cut is “a transition between two shots” and such transitions can take a variety of different patterns. It can be an abrupt one that the audience feels rather unprepared and yet and it can be a natural one which smoothly dissolves into the later development of the film. Because of such distinction, the notion of “hard cuts” and “soft cuts” are thus generated. The author also makes an assumption that the shot lengths may decrease in the future.