Bordwell, D & Thompson, K 2013, ‘Chapter 6 The relation of shot and shot: editing’, Film Art: An Introduction, 10th ed, McGraw Hill, New York, pp. 218-265
3 thoughts on “Bordwell, D & Thompson, K 2013, ‘Chapter 6 The relation of shot and shot: editing’, Film Art: An Introduction, 10th ed, McGraw Hill, New York, pp. 218-265”
This part of the book introduces what is editing and various types and features of editing in detail. And it also gives a lot of example of famous movies to explain its meaning. The article involves dimensions of film editing. There are several choices for filmmaker: graphic relations between shot A and shot B, rhythmic relations between shot A and shot B, spatial relations, and temporal relations. In addition, an important thing of editing is continuity editing, which aims to make the narration smoother and clearer over a series of shots. The article introduces several types and ways of continuity editing.
It is helpful that this article provides almost all the basic and important information of editing. To lay a good foundation and explore further of editing, it is vital to read this book first.
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 relation 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 significant moment.
In this chapter of Film Art, Bordwell and Thompson give a detailed overview of film editing, including techniques, stylistic choices and the relationships between shots. They discuss the “dimensions of film editing” and refer to the different relationships that must be taken into account when cutting 2 shots together. Some of these are rhythmic relations, graphic relations, spatial relations and temporal relations. They also go on to discuss continuity editing and the different variable that may have an effect on effective continuity in film. The chapter is comprehensive in its discussion of editing techniques and contains plenty of useful information in regards to shooting and cutting.
This part of the book introduces what is editing and various types and features of editing in detail. And it also gives a lot of example of famous movies to explain its meaning. The article involves dimensions of film editing. There are several choices for filmmaker: graphic relations between shot A and shot B, rhythmic relations between shot A and shot B, spatial relations, and temporal relations. In addition, an important thing of editing is continuity editing, which aims to make the narration smoother and clearer over a series of shots. The article introduces several types and ways of continuity editing.
It is helpful that this article provides almost all the basic and important information of editing. To lay a good foundation and explore further of editing, it is vital to read this book first.
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 relation 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 significant moment.
In this chapter of Film Art, Bordwell and Thompson give a detailed overview of film editing, including techniques, stylistic choices and the relationships between shots. They discuss the “dimensions of film editing” and refer to the different relationships that must be taken into account when cutting 2 shots together. Some of these are rhythmic relations, graphic relations, spatial relations and temporal relations. They also go on to discuss continuity editing and the different variable that may have an effect on effective continuity in film. The chapter is comprehensive in its discussion of editing techniques and contains plenty of useful information in regards to shooting and cutting.