The document discusses different styles and techniques of film editing including continuity editing, montage editing, and various transition effects between shots. It notes that continuity editing aims for shots to flow together naturally and appear continuous, while montage editing juxtaposes shots to create new meanings. It also describes crosscutting/parallel editing, dissolves, wipes, and how editing is crucial for action films to maintain pace and tension.

1. Editing

2. The basics Two recognised styles Continuity –The viewer should not notice the cuts, and shots should flow together naturally. Hence, the sequence of shots should appear to be continuous.

3. Montage - Soviet Montage – This style of editing has two functions. The highly political soviet style of the 1920’s which sought to create a new meaning out of seemingly unconnected shots. The audience are very aware of the ‘cuts’.

4. Montage - Hollywood In classical Hollywood cinema, a "montage sequence" is a short segment in a film in which narrative information is presented in a condensed fashion.

5. Transitions A ‘transition’ is the term for how an editor moves from one ‘shot’ to another. The use of an inappropriate transition can destroy the mood or pace of a scene. As we watch the following transitions write down what you think the effect on the audience is.

6. Crosscutting / Parallel editing Editing that alternates shots of two or more lines of action occurring in different places, usually simultaneously.

7. Dissolve A transition between two shots during which the first image gradually disappears while the second image gradually appears.

8. Wipe A transition between shots in which a line passes across the screen, eliminating the first shot as it goes and replacing it with the next one. A very dynamic and noticeable transition, it is usually employed in action or adventure films.

9. Action editing Editing is the essential tool in an action films armoury, edit incorrectly and there is no action. We are going to see two identical camera shots where an object moves towards the camera, the first is regarded as one of the most frightening in film history, the second won the film’s editor an Oscar. Try and count the cuts in the second sequence.