Bordwell, D. & Thompson, K., 2013. Film Art An introduction. 10th ed. New York: McGraw-Hill.pp.232-264
2 thoughts on “Bordwell, D. & Thompson, K., 2013. Film Art An introduction. 10th ed. New York: McGraw-Hill.pp.232-264”
Film Art An Introduction is the book that helped me to understand film as an art at very beginning of my film study. It impresses me so much because of its esay-understanding language and depth of exploring the representative cases with numerous examples. In chapter 6 the author talks about film editing in many aspects, and I find the part of couninuty editing is the most atrractive one for me. It starts with the 180 degree rule and the use of it in classic narrative films like The maltese Falcon. After that, it also gives some examples of 180 degree rule is being refined in various ways. For example, with shots from contemporary and classic films, the author shows us how the directors could cheat with cuts, cross the Axis and use POV. In the later part of the chapter, the possibility of creating alternatives to continiuty editing is also explored. In some films there are intentions to mix it up with graphic and rhythmic cuts to create a hybird. The thing like jump cut which totally breaks the system is also introduced at the end. The book is perfect at introducing the techniques and concepts, which makes it a valuable source for beginners to study.
In the chapter, “The Relation of Shot to Shot: Editing”, Bordwell and Thompson give a broad overview of what editing is and what choices editors have in relation to graphic, rhythmic, spatial, and temporal relations. These are discussed with reference to either continuity or discontinuity. Understandably, the continuity section focusses on how to make cuts appear seamless and less jarring to the audience. In the sub-section Duration: Continuous or Elided, the authors talk about how editing trends have changed in Hollywood with the use of transitions fading out, and cuts being preferred as the indicators of time elapses – an interesting idea regarding how perceptions of continuity have changed within audiences. In the discontinuity section, the authors point to how discontinuity can be used effectively in meaningful ways pointing to Eisenstein as one of the key figures to unleash it’s potential.
Bordwell and Thompson’s writing on editing is helpful in reinforcing the basics of editing. They have much to say about continuity and thoroughly iterate the Hollywood style of editing which I found to be concentrated, however more could have been said in regards to the less conventional discontinuous filmmaking style.
Film Art An Introduction is the book that helped me to understand film as an art at very beginning of my film study. It impresses me so much because of its esay-understanding language and depth of exploring the representative cases with numerous examples. In chapter 6 the author talks about film editing in many aspects, and I find the part of couninuty editing is the most atrractive one for me. It starts with the 180 degree rule and the use of it in classic narrative films like The maltese Falcon. After that, it also gives some examples of 180 degree rule is being refined in various ways. For example, with shots from contemporary and classic films, the author shows us how the directors could cheat with cuts, cross the Axis and use POV. In the later part of the chapter, the possibility of creating alternatives to continiuty editing is also explored. In some films there are intentions to mix it up with graphic and rhythmic cuts to create a hybird. The thing like jump cut which totally breaks the system is also introduced at the end. The book is perfect at introducing the techniques and concepts, which makes it a valuable source for beginners to study.
In the chapter, “The Relation of Shot to Shot: Editing”, Bordwell and Thompson give a broad overview of what editing is and what choices editors have in relation to graphic, rhythmic, spatial, and temporal relations. These are discussed with reference to either continuity or discontinuity. Understandably, the continuity section focusses on how to make cuts appear seamless and less jarring to the audience. In the sub-section Duration: Continuous or Elided, the authors talk about how editing trends have changed in Hollywood with the use of transitions fading out, and cuts being preferred as the indicators of time elapses – an interesting idea regarding how perceptions of continuity have changed within audiences. In the discontinuity section, the authors point to how discontinuity can be used effectively in meaningful ways pointing to Eisenstein as one of the key figures to unleash it’s potential.
Bordwell and Thompson’s writing on editing is helpful in reinforcing the basics of editing. They have much to say about continuity and thoroughly iterate the Hollywood style of editing which I found to be concentrated, however more could have been said in regards to the less conventional discontinuous filmmaking style.