Here are both of the editing lectures in one powerpoint. It may be different from the in-class lecture but the information is the same.

1. Editing

2. CUT

3. CUT
Is the joining of two separate shots

4. CUT
Is the joining of two separate shots
So that the first shot is instantaneously
replaced by the second

5. HISTORICAL AND AESTHETIC
DEVELOPMENTS IN EDITING

6. HISTORICAL AND AESTHETIC
DEVELOPMENTS IN EDITING
MID 1890s

7. HISTORICAL AND AESTHETIC
DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph

8. Lumiere Bros. Cinematograph: camera, projector, developing machine

9. HISTORICAL AND AESTHETIC
DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph
- Lumiere Bros. (Auguste & Louis) early films
contained no editing

10. HISTORICAL AND AESTHETIC
DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph
- Lumiere Bros. (Auguste & Louis) early films
contained no editing
- Single-shot recordings (sequence shots)

11. HISTORICAL AND AESTHETIC
DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph
- Lumiere Bros. (Auguste & Louis) early films
contained no editing
- Single-shot recordings (sequence shots)
- Lasted the duration of one roll of film (1-2 minutes)

12. HISTORICAL AND AESTHETIC
DEVELOPMENTS IN EDITING
MID 1890s
- Lumiere Brothers invented the Cinematograph
- Lumiere Bros. (Auguste & Louis) early films
contained no editing
- Single-shot recordings (sequence shots)
- Lasted the duration of one roll of film (1-2 minutes)
-The duration of the shots and the event were equal

13. George Melies
created episodic films by connecting
shots: cutting to continuity

14. George Melies
created episodic films by connecting
shots: cutting to continuity
- Editing and camera placement still based
on live theatre

15. George Melies
created episodic films by connecting
shots: cutting to continuity
- Editing and camera placement still based
on live theatre
- Camera is stationary, outside of the action

16. George Melies
created episodic films by connecting
shots: cutting to continuity
- Editing and camera placement still based
on live theatre
- Camera is stationary, outside of the action
-Similar to curtain coming down and opening
in a new location

18. “Continuity cutting tries to preserve the
fluidity of an event without literally
showing all of it” (Giannetti)

19. 1903
-Edwin S. Porter made Life of an American
Fireman and The Great Train Robbery

20. 1903
-Edwin S. Porter made Life of an American
Fireman and The Great Train Robbery
- Porter used editing to create parallel action

21. 1903
-Edwin S. Porter made Life of an American
Fireman and The Great Train Robbery
- Porter used editing to create parallel action
- Shots are not linear - shot B does not pick up
where shot A left off – linked instead by the
continuity of an IDEA
The Great Train Robbery (1903), Edwin S. Porter

22. 1915 “The Father of Filmmaking”
- D. W. Griffith makes The Birth of a Nation

23. 1915 “The Father of Filmmaking”
-D. W. Griffith makes The Birth of a Nation
-Classical cutting

24. 1915 “The Father of Filmmaking”
-D. W. Griffith makes The Birth of a Nation
-Classical cutting
-Editing within scene to vary dramatic intensity

25. 1915 “The Father of Filmmaking”
-D. W. Griffith makes The Birth of a Nation
-Classical cutting
-Editing within scene to vary dramatic intensity
-Expand visual explanation-

26. 1915 “The Father of Filmmaking”
-D. W. Griffith makes The Birth of a Nation
-Classical cutting
-Editing within scene to vary dramatic intensity
-Expand visual explanation-
-juxtaposing long shots,

27. 1915 “The Father of Filmmaking”
-D. W. Griffith makes The Birth of a Nation
-Classical cutting
-Editing within scene to vary dramatic intensity
-Expand visual explanation-
-juxtaposing long shots,
-medium shots, close ups, etc.

28. 1915 “The Father of Filmmaking”
-D. W. Griffith makes The Birth of a Nation
-Classical cutting
-Editing within scene to vary dramatic intensity
-Expand visual explanation-
-juxtaposing long shots,
-medium shots, close ups, etc.
- varying the length of shots

29. 1915 “The Father of Filmmaking”
-D. W. Griffith makes The Birth of a Nation
-Classical cutting
-Editing within scene to vary dramatic intensity
-Expand visual explanation-
-juxtaposing long shots,
-medium shots, close ups, etc.
- varying the length of shots
-shifting the attention within a scene

30. CONTINUITY EDITING:

31. CONTINUITY EDITING:
Designed to make editing INVISIBLE

32. CONTINUITY EDITING:
Designed to make editing INVISIBLE
- cutting on action: action begins in one shot and ends in
another

33. CONTINUITY EDITING:
Designed to make editing INVISIBLE
- cutting on action: action begins in one shot and ends in
another
- cutting on dialogue: motivated by whoever is
talking (or listening)

34. CONTINUITY EDITING:
Designed to make editing INVISIBLE
- cutting on action: action begins in one shot and ends in
another
- cutting on dialogue: motivated by whoever is
talking (or listening)
- cut on the glance: edit follows the eyes of a character

35. CONTINUITY EDITING:
Master shot: A long shot of the entire action without
cuts.

36. CONTINUITY EDITING:
Master shot: A long shot of the entire action without
cuts.
The action is then repeated a number to times using
medium shots, close ups, etc.

37. CONTINUITY EDITING:
Master shot: A long shot of the entire action without
cuts.
The action is then repeated a number to times using
medium shots, close ups, etc.
Without a master shot editors many not have
adequate footage

38. This end the 1st
part of the
editing lecture
• The slides after this will be covered in
the second week of editing.

39. • The Russians *scene 6

40. Moscow Film School used film as
propaganda

41. Moscow Film School used film as
propaganda
Their editing style was in direct
opposition to American classical cutting

42. Moscow Film School used film as
propaganda
Their editing style was in direct
opposition to American classical cutting
Soviets believed that the power was in
the juxtaposition

43. Moscow Film School used film as
propaganda
Their editing style was in direct
opposition to American classical cutting
Soviets believed that the power was in
the juxtaposition
Cuts called attention to themselves

44. Moscow Film School used film as
propaganda
Their editing style was in direct
opposition to American classical cutting
Soviets believed that the power was in
the juxtaposition
Cuts called attention to themselves
The meaning was made in the edit

45. 1920s
- Lev Kuleshov, Soviet film theorist

46. 1920s
- Lev Kuleshov, Soviet film theorist
- Experimented with juxtaposition

47. 1920s
- Lev Kuleshov, Soviet film theorist
- Experimented with juxtaposition
- Shots cut together to create ideas not
contained in either shot on its own
= meaning through editing

48. 1920s
- Lev Kuleshov, Soviet film theorist
- Experimented with juxtaposition
- Shots cut together to create ideas not
contained in either shot on its own
= meaning through editing
MONTAGE EDITING

56. MONTAGE EDITING
Sergei EisensteinSergei Eisenstein
- shots COLLIDE to make meaning

57. MONTAGE EDITING
Sergei Eisenstein
- shots COLLIDE to make meaning
-often fragmenting time and space

58. MONTAGE EDITING
Sergei Eisenstein
- shots COLLIDE to make meaning
-often fragmenting time and space
- montage calls attention to itself,
unlike Continuity editing
-the contrast and conflict of images

59. Montage clip from Eisenstein’s STRIKE (1925):

60. SHORT ATTENTION SPAN:
MTV/30 SEC. COMMERCIAL INFLUENCES

61. SHORT ATTENTION SPAN:
MTV/30 SEC. COMMERCIAL INFLUENCES
- “MTV Generation” - grew up watching 30 second TV
commercials, and rapidly-edited music videos

62. SHORT ATTENTION SPAN:
MTV/30 SEC. COMMERCIAL INFLUENCES
- “MTV Generation” - grew up watching 30 second TV
commercials, and rapidly-edited music videos
- Shots often last a second or two (or less)

63. Tsotsi
(2005)
Directed by Gavin Hood
Presley Chweneyagae .... Tsotsi