Styles of editing Continuity editing Hollywood narrative style “Analytic editing” Invisible shot...

Styles of editing Continuity editing

Hollywood narrative style

“Analytic editing” Invisible shot

transitions Shots subordinated

to unity of segment Implies a passive

spectator

Discontinuity editing Modernist and

experimental “Montage” style Foregrounds shot

transitions Stresses formal

integrity of each shot Implies active spectator

Continuity editing Hollywood, narrative style. “Analytic editing.” Invisible shot transitions. Shots subordinated to unity of segment. Implies a passive spectator.

Analytic editing in Sabotage

Discontinuity editing Modernist and experimental films. “Montage” style. Foregrounds shot transitions. Stresses formal integrity of each shot. Implies active spectator.

The aesthetics of editing relies on four areas of choice and control

Graphic relations

Rhythmic relations

Spatial relations

Temporal relations

Rhythmic relations between shots Metrical montage

Graphic relations between shots Line

Shape

Depth

Angle

Tonal contrast

Speed and direction of movement

Graphic relations between shots

Graphic relations between shots

Spatial relations between shots The “Kuleshov effect”

“Creative geography”

Temporal relations between shots Jumpcuts

Overlapping edits

Flashbacks and flashforwards

Sergei Eisenstein (1898-1948)

To precisely calculate he design of the work of art and its effects on the spectator.

No practice without theory.

No practice or theory of art separate from the social command.

The ideogram and the montage cell

Eisenstein’s theory of spectatorship To direct forcefully the emotions and thought

processes of the spectator as a series of “shocks.” Pavlov’s reflexology: stimulus and response. Marxist dialectic: out of conflict comes a higher unity, a

synthetic idea in the mind of the spectator. Montage as a bridge between

Laws of aesthetic form; Laws of mind.

Dialectics: “From conflict or collision to a higher unity.” “The dialectic as a leap from quantity (aesthetic form) to quality (transformation of consciousness in the spectator).

Vertical montage1. Metric montage

a) Physiological: photograms resolving into apparent motion

b) Shot length and pacing

2. Rhythmic montagea) Artificially produced movement (logical and alogical)

b) Conflict between frames and syncopation of movement within the frame

3. Tonal montage

4. Associational or overtonal montage

5. Intellectual montage

Vertical montage

METRIC apparent motion pacing

----------------------- ---------------------------------------------------- RHYTHMIC artificial movement (logical)

(alogical) syncopation

----------------------- ---------------------------------------------------- TONAL organization of “dominant” ----------------------- ---------------------------------------------------- OVERTONAL emotional dynamization through

chains of psychological associations ----------------------- ---------------------------------------------------- INTELLECTUAL conceptual; logical deduction

Metric and rhythmic montage

Tonal and overtonal montage

“Intellectual” montage

Dynamic structure and “ecstatic” composition The Odessa steps

Chaotic movement : rhythmic marchingMasses : linesClose-ups : long shotsMovement up : movement down

The stone lions “leap”