The document discusses various techniques of film editing. It describes how editing coordinates shots to create a coherent narrative through continuity editing. It discusses how juxtaposing shots can influence the audience's interpretation of emotions and events. Various relationships in editing are covered, including graphic matches and discontinuities, rhythmic transitions, temporal techniques like flashbacks, and spatial conventions for maintaining continuity of location.

1. Film Editing
Co-ordinating the Shots:

2. Editing: what’s the idea?
• The general idea behind editing in
narrative film is the coordination of one
shot with another in order to create a
coherent whole.
• The system of editing employed in
narrative film is called continuity
editing – its purpose is to create and
provide efficient and artful transitions.

3. Editing film
1. In filmmaking, the task of selecting and joining
camera takes.
2. In the finished film, the set of techniques that
governs the relation among shots.
(Bordwell and Thompson)

4. Editing is the process of preparing language,
images, or sound through correction,
condensation, organization, and other
modifications in various media... Editing is,
therefore, also a practice that includes
creative skills, human relations, and a precise
set of methods.
Wikipedia

5. Juxtaposition and meaning
• Edwin S. Porter, The Great Train Robbery, 1903
Shots in sequence create meaning for audiences
• From exterior shots to set, audience is encouraged
to believe the events they see are immediately
sequential
Interior train
carriage
Exterior, roof
of trainCut to Cut to
Exterior, train
pulls away

6. The Kuleshov Effect
• Lev Kuleshov, circa 1920: intercut an actor’s face
with unrelated footage taken later.
• Audiences interpreted emotional responses on the
actor’s face based on the juxtaposition of images.
• Whilst much of the moving image we see uses
this effect, it does not usually draw attention to it.

7. Comparing Approaches
• Students may be familiar with multiple-camera,
non-sequential techniques from film and
television
• Hollywood productions may have 1000-2000
shots, 3000 for an action movie: post-production
editing is crucial in creating meaning
• Some film makers still favour a pared-down,
single-camera, sequential approach for particular
sections of film

8. Definition of in-camera editing:
‘constructing a film by taking shots in sequence,
with no subsequent editing’ (Burn and Durran)
Contrast ‘four main functions’ of film editing:
• ‘make sure that the production is the required
length or time;
• to remove unwanted material or mistakes;
• to alter if necessary the way or the sequence in
which events will be portrayed;
• to establish the particular style and character of
a production.’ (O’Sullivan, Dutton and Rayner)

9. Online example 1
Points to consider :
• Narrative
• Characters
• Relationships
• Genre
• Shot choices
• Continuity
• Effectiveness

11. Storyboards created
from still shots, after
filming
These can be made
more detailed: duration;
notes on camera
movement; audio etc.

12. Relations in Editing
There are five areas of choice and
control in editing, based on five types
of relationships between shots:
Graphic Relations
Rhythmic Relations
Temporal Relations
Spatial Relations
Thematic Relations

13. Graphic Relations
Although the primary focus of the film
editor is to ensure continuity of the
narrative, film editors remain acutely
aware that film is a visual art. Therefore,
they work to achieve visual interest by
creating transitions between shots that are
graphically similar and graphically
dissimilar, depending on the desired
effect.

14. Graphic Continuity
• A graphic match is achieved by joining
two shots that have a similarity in terms of
light/dark, line or shape, volume or depth,
movement or stasis.
• A graphically discontinuous edit
creates a clash of visual content by joining
two shots that are dissimilar in terms of
one or more of the above visual principles.

15. Graphic Match

16. Graphic Discontinuity

17. Rhythmic Relations
Film is not only a visual art, but also an
auditory and even tactile art. Therefore,
editors also remain aware of the effects
achieved by manipulating the rhythms
experienced by perceivers through
thoughtful juxtapositions of longer and
shorter shots as well as through
transitional devices that affect the
perceiver’s sense of beat or tempo.

18. Rhythmic Transitional Devices
 Straight cut
 Fade-out
 Fade-in
 Dissolve
 Wipe
 Flip frame
 Jump cut

19. Temporal Relations
Editing is the process by which the difference
between temporal duration and screen duration
is reconciled. It sounds simple, but consider this:
most feature films present in roughly two hours
sufficient intersection of story and plot to provide
perceivers with everything they need in order to
understand days, weeks, months or even years
in characters’ lives.
Click here for example of Temporal relative editing

20. Temporal Relations: Chronology
• Most narrative films are presented in
roughly chronological order, with notable
exceptions (Memento, anyone?)
• The two most common disruptions to
chronological order are flashbacks and
flashforwards (the former being much
more typical than the latter).

21. Temporal Relations:
The Passage of Time
• To speed up time, editors make use of elliptical
editing techniques such as
Transitional devices
Empty frames
Cutaway shots
• To slow down time, editors make use of
expansion editing techniques such as
overlapping
repetition

22. Spatial Relations
Perhaps the most important, as well as the
most overlooked, principle of editing is its
function in providing perceivers a reliable
sense of the physical space that
constitutes the world of the film. Editors
are responsible (with assistance from
cinematographers) for relating points in
space in order to achieve narrative
continuity.

23. Spatial Continuity
• The standard pattern for editing a scene in
a narrative film includes the following:
Establishing shot
Shot/Reverse-shot
Eyeline match (POV shot)
Re-establishing shot

24. Spatial Continuity

25. More Spatial Concepts
• Multiple camera technique
• Axis of Action (180-degree line)
• Match on Action
• Cheat Cut
• The Kuleshov Effect

26. Axis of Action

27. Thematic Relations
Editors have at their disposal two very
powerful techniques for manipulating the
perceiver’s place in the hierarchy of
knowledge, and therefore affecting our
thematic understanding of the film:
• Montage sequences
• Crosscut editing