Editing: Essence of Filmic Narration özge / advance interactive narrations / 6 nov 2006

1. Editing: Essence of Filmic Narration özge / advance interactive narrations / 6 nov 2006

2. Tom Gunning’s D.W. Griffith and the Origins of American Narrative Film

3. D. W. Griffith: master of the syntax of film narration

4. New elements Griffith introduces: • The full shot • The medium shot • The close-up • The pan shot • The moving camera • The spot-iris • The mask • The fade • +Soviet films on Montage

5. Discovery of paper prints. They are for copyrights.

6. development of narrative form in relation to film history • limitations of the study 1908-1909

7. From “cinema of attractions” to a narrative form magic ---------------------> dramatic expression Melies Griffith

8. comics (split screens) has more impact on film in comparison to theater. • impact of vaudeville Winsor McCay

9. “essential nature of film have often focused on editing” (p.21)

10. Who has more agency on the film director or editor?

11. Kubrick’s Shining Trailer Tagline: A Masterpiece Of Modern Horror The original trailer: • http://www.movie-list.net/classics/shining.mov A remake of it: • http://www.ps260.com/molly/SHINING%20FINAL.mov

12. Editing: Coordination of one shot with the next.

13. Dimensions of Film Editing • Graphic Relations • Rhythmic • Spatial • Temporal

14. Dissolve • Fade out • Fade in • Wipe • Cut • Graphic Match

15. Dissolve: superimposes end of shot A and beginning of shot B

16. What are the implications of dissolve?

17. Fade out: gradually darkens the end of a shot to the black • What does fade out effect imply if it is fading to white? SFU • to black?

18. Fade in: lightens a shot from black

19. Wipe: shot B replaces shot A by means of a boundary line moving across the screen

20. Graphic Match: linking the shots by graphic similarities. • Smooth continuity • Abrupt contrast • Kubrick’s 2001 Space Odyssey • Caro’s Alien 4 Resurrection

21. Continuity Editing: Editing for invisible narration. [Continuity Editing contains a very narrow set of editing possibilities.]

22. Jump Cut: When two shots of two subject are cut together but are not sufficiently different in camera distance and angle, then there will be a noticeable jump on the screen. • Godard’s Breathless • Allen’s Deconstructing Harry

23. Terror, Iraq, Weapons http://www.youtube.com/watch?v=KUaEtf1s23w

24. Continuity Editing Aim: Using editing for invisible narration 180 degree rule Avoiding Continuity Mistakes. (Costume, cigarettes, position of objects etc…) Cut with Movement Intellectual Montage Aim: Using editing as a tool for making meaning. Jump Cuts Non-diegetic inserts Collage like quality Rhythmic-Fast

25. 180 degree rule for continuity editing:

27. Discontinuity can also be created by the non-diegetic insert

28. Kuleshov Effect:

29. Kuleshov Effect:Kuleshov edited a short film in which shots of the face of a man are alternated with various other shots (a plate of soup, a girl, a child's coffin).

30. Intellectual-Visible Montage • The montage experiments carried out by Kuleshov in the late 1910s and early 1920s formed the theoretical basis of Soviet montage cinema, • Sergei Eisenstein, • Vsevolod Pudovkin • Dziga Vertov, • Battleship Potemkin, October, Mother, The End of St Petersburg, and The Man with a Movie Camera.

31. Editing -Time • Parallel Editing: The shots of the sequences which are given parallel belong to the same slice of time. • Events actions happening in these different spaces are simultaneous. • Silence of the Lambs

32. Temporal Discontinuity • Flashback • Flashforward • Ellipsis: Psychological closure, difference between story-plot times

33. 1. How long is the duration subtracted by ellipsis? 2. Whether that ellipsis is filled or not? 3. Is it obvious; does the director want us to notice it or not 4. If it is filled later, what is the function of it?