This study by Crisp details the “editing rate” of French cinema 1930-1945. He refers to a table produced by Metz which detailed the number of shots and average shot lengths (ASL) within a selection of films lasting around 100 minutes. From his analysis of this, he finds an upward trend in the editing rate as the years went on. From 1932-1946, the number of shots increased 50% from 400 shots to 600 shots per 100 minute, with the ASL jumping from 15 to 10 seconds. An interesting example of a “marked irregularity” within this scene is director Jean Renoir, most of his films tended to call an ASL of over 18 secs and this has been argued as a valid evidence of his auterism. Moreover, even Un partie de campagne, a film whose material was shot in 1936, but not edited until 1946 records an ASL of 11.96 seconds illustrating how the changes in editing practices did not override Renoir’s practices. Crisp does however caution the many variables which may have influenced this upward editing intensity; the shorter takes, the development of new editing styles, and the advent of sound cinema among other things.

This study by Crisp is especially specific and particular in it’s area focus. Though he does point to the variables which could have influenced the outcome of his research, it still provides strong arguments backed up with evidence to highlight some French editing trends. This study lead me to question the creative hierarchy in film, especially the relationship between the director and editor as he mentions, albeit briefly, auterism.