Lecture 3: “We’ll fix it in the edit” and Reading
This week we looked at Editing. Editing is in fact not about fixing things, as the lecturer stated, it is about breaking things up. As editors if we put two shots together, we say that there is a link or similarity between them. Something that when combined creates or enhances the story we are trying to tell.
We cut things out, move things around and make way for new connections our audience to experience.This was a different way to think about editing and I really enjoyed looking at something that I as a media student don’t always stop to admire and look at.
During the lecture I learnt about something called The Kuleshov Effect: The idea that for film editing 1+1 equals 3. Even though we cut up two clips and edit them together, often they can have another meaning and in saying this, the phenomenon highlights the idea that we can find more meaning in an edited sequence than in a single still shot. We were told the story of how in the soviet film makers snuck in old footage to edit together as they could not afford new blank film. It was really cool to understand more of the historic side of film making and editing. This lead on to the next question of the lecture…
Why do we edit?
As soon as you break footage and cut it up, you begin a creative process. Its to introduce gaps. Generally the wider the gap between footage the more challenging it is to the viewer to see how these video clips are connected. an example of this was a scene shown of an early American Film titled The Great Train robbery clip and a Jessie James film starring Brad Pit. The difference between them -In The great train Robbery, everything was filmed in one shot. In the newer film there were several cuts, and also was examples of slow editing, adding to the suspense. As we discussed the differences in class, Liam talked about how during the early decades of film, a cut generally used to signify the end of a scene. However nowadays there are several cuts in a sequence, and this is generally expected from an audience today. In fact quite ironically, in can make a film quite unique to have limited cuts in today’s world.
Looking at Rhythm and Pace
Another aspect of film that we looked at was editing to Rhythm and Pace. Often this does not always have to coney an absurd amount of meaning and help engage audiences emotionally. Sometimes it can serve as a cue for the pace of the sequence of even the film as a whole. We looked at an example of this in the film Cabaret. In the scene Liza Minelli is performing a high energy, fast paced Jazz number. As the rhythm and beat are heard from the instruments and her singing there are numerous cuts to different angles of Minnelli’s performance. This shows us how music can be a key component in the choices we make as editors. As a scene, the editing to the rhythm of the music was a sharp addition and really made the scene flow.
Editing to establish pace is often something that I have used in the past and has often worked quite well for me, serving as a fun challenge in my amateur skills as an editor. We concluded the first part of the lecture with answering the question. As editors we do what we do to figure out how we can see create meaning from editing together new clips. This lecture reconfirmed to me how important editing is and how much of a difference it can make to ones work if done really well and following patterns and rules in place.
“Blood in the Gutter”
The Reading for this week was less of a reading and more a very long narrated comic strip (and a very cool one at that!). The piece by Scott Mcloud looked at the idea of closure. Closure is when our minds connect, finish or fill in the blanks visually on something that we may only see parts of. This is something we do everyday. It is crucial for our survival and takes several different forms. Some simple such as a cartoon cut off at the waist (we use closure to assume that they do have a body even though we cannot see the lower part of it). Or sometimes a more substantial form, e.g. a circle with two dots and a line = a face.
Comic books are a great example of this. As there is limited use for detailed illustration, we are made to assume or fill in the blanks. This is where the idea of The Gutter comes in. The small area between two panels (little horizontal lines) in a comic strip is referred to as a gutter. There is nothing within it, but it still makes meaning regardless because our brains assume something must be there. This is an article I remember reading part of in my high school media class, yet it was really cool to look through it again and get a better understanding. Here is a little example of closure within a comic. Its also to be noted that this can be used in film and television as well as other types of media 🙂
There are different transitions such as
Moment to moment transitions: e.g blinking. It is slower. These types of transitions where
Action to action: e.g someone picthes the ball, and someone hits it. There is a sense of cause and effect, and an implied order.
Subject to subject: Someone passes the finish lines, then a stopwatch sounds off
Scene to Scene: e.g space and time cutting from Paris, to Milan there is a transition to the different space. Another example being
No secular: No logical connection to anything at all. This creates a different meaning for the viewer