This document discusses editing techniques used in filmmaking. It begins by explaining that most films use continuity editing to seamlessly move the story and immerse viewers. It then discusses how editing in dramas aims to create identification, conflict, and intensification. Key techniques mentioned include match cuts to create a sense of continuous time, cross-cuts between different locations, cutaways, reaction shots, and graphic matches between scenes. Transitions like fades, dissolves, and wipes are also discussed. The document covers additional techniques such as slow motion, montages, and long takes and how they are used to prolong tension, add style, or intensify emotion.

1. Film Language: Editing
Most films use a system of editing known as continuity editing. Its sole aim
is to get the story moving along and get the audience completely
immersed in the plot and characters.
In drama sequences, the purpose of editing is often:
• Identification (with characters)
• Conflict
• Intensification
The function of this system is to make the drama as fluid as possible, so
that the audience are not aware of the construction process therefore,
you need to be especially aware to spot the techniques of editing
employed during a textual analysis. Remember also that sometimes sound
is used to ‘bridge’ the cut and make it less noticeable on screen.
The process of editing is more concerned with the ‘creation’ of meaning
rather than the taking away of material.
Editing often works through the juxtaposition of different shots to create
meaning.
Editing Pace;
This is the speed and tempo of the cuts – slow can suggest emotion and
fast can suggest tension, action or uncontrollable events.
This is the first most obvious thing to look for as it gives an insight into the
tempo and feel of the sequence.
There are a huge number of editing techniques which filmmakers can
employ.
The most common of these is the cut. The cut is a sudden change of shot
from one viewpoint or location to another. Always ask yourself why a cut
has occurred – there is always a reason.
Match on action
Is where the editor cuts from one shot to another view that matches the
first shot's action, cutting on action gives the impression of continuous time
when watching the edited film. By having a subject begin an action in
one shot and carry it through to completion in the next, the editor creates
a visual bridge, which distracts the viewer from noticing the cut or noticing
any slight continuity error between the two shots.

2. Jump cut
An abrupt switch from one scene to another, used to make a dramatic
point.
Cross-cut A cut from one narrative or line of action to another, mostly
used in films to establish action occurring at the same time in two different
locations. Eg grease film
Cutaway
A ‘bridging’ shot between two shots of the same subject often used to
soften uncomfortable jumps in time or space.
Reaction shot
Any shot in which a participant reacts to events/action. Often used to
guide the audience’s reaction to a scene.
Matched cut/graphic cut is a cut between either two different objects,
two different spaces, or two different compositions in which an object in
the two shots graphically match, often helping to establish strong
relationship between two scenes.
Other forms of transition are also possible:
Fade
A transition to or from a blank screen (normally black).
Dissolve
A slow transition as one image merges into another.
Both are used to suggest differences in time or place. A dissolve might
also suggest a strong connection between the two scenes involved.
Wipe
An optical effect in which one shot ‘wipes’ another off the screen for
dramatic effect.
Superimposition
Two or more images placed directly on top of one another.
Split screen
Division of screen in order to show two or more lines of action
simultaneously – this can be referred to as parallel action.
Effects are also added as part of the editing process – e.g.; slow motion or

3. fast motion.
Slow-motion – The action literally slows down with the text – this connotes
seriousness or a past event. Helps to prolong tension, add style, or
dramatic effect to the film.
Montage – A series of shots that are connected together to
reinforce/create meaning – intensifies and controls the emotion through
collection.
Long take – This is a shot that does not cut away but ‘lingers’ on one piece
of the action. It is the equivalent of staring – connotes intensity.