This document discusses various techniques in film editing including establishing shots, crosscutting, temporal continuity cues, temporal ellipsis, graphic and rhythmic editing, ignoring the 180 degree system, 360 degree space, jump cuts, and Eisenstein's rejection of continuity editing in favor of discontinuity editing to push viewers to derive implicit meanings. It provides examples like Touch of Evil using crosscutting, Star Wars using continuity cues, Brakhage using graphic editing, Ozu films using 360 space, and Eisenstein's October lacking establishing shots.

1. Brian Rollefson

2.  Establishing shot – usually involving a distant
framing, that shows the spatial relations
among the important figures, objects, and
setting the scene
 Touch of Evil

3.  It remains primarily a means of presenting
narrative actions that are occurring in several
locales at roughly the same time
 Crosscutting builds suspense
 Star Wars

4.  Three Cues for temporal continuity
 Narrative progression of the scene has no gaps
 The sound track
 Match on action
 Temporal Ellipsis
 The ellipsis may omit
seconds, minutes, hours, days, years, or centuries.

5.  Instead of joining shot 1 to shot 2, one could
join them on the basis of purely graphic or
rhythmic qualities
 Stan Brakhage uses purely graphic means of
joining shot to shot, Anticipation of the Night
 As we saw with graphic, rhythmic editing
may override the spatial and temporal
dimensions; when this happens, narrative
usually becomes less important

6.  A filmmaker may choose to ignore the 180
degree system
 Filmmaker Yasujiro Ozu based many of his
films on what might be called 360 space
 Early Summer
 Jump Cut and Nondiegetic insert

7.  Eisenstein deliberately opposed himself to
continuity editing
 October
 He never begins a section with an establishing
shot. Reestablishing shots are rare
 The interpretation is not just handed to the
viewer, rather the editing discontinuities push
the viewer to work out implicit meanings.