TFM 160 CH. 4 (SDSU SHPIGELMAN) (UNDERSTANDING MOVIES, LOUIS GIANNETTI)

editing joining shots cutting to continuity -preserves fluidity of event without showing its entirety -condenses action into brief shots -used in most films today Brainpower Read More realism sequence shots realism-classicism cutting to continuity classicism classical cutting classicism-formalism thematic montage formalism abstract cutting sequence shot -no editing -master shot -long range single shot classical cutting -interprets action by emphasizing certain details over others -emotional and dramatic thematic montage -argues thesis -shots connected in relatively subjective matter abstract cutting no recognizable subject matter jump cut editing transition that is confusing in space & time establishing shot for beginning of new scene or story reestablishing shot return to opening long shot once location is established: cut to closer to the action D.W. Griffith -"Father of Film" -entered filmmaking in 1908 -used cutting to continuity when before stationary long shots were mostly used absolute film nonrepresentational form & designs cover shot to reestablish sequence if other shots won't cut eye-line match classical editing technique that uses 180 degree rule & shot reverse shot to show audience what the characters are seeing first cut shot sequence representing director's interpretation of materials matching action keeps action fluid between characters 180 degree rule axis of action line drawn through middle of scene from bird's eye view reactive character how most people would act in the situation shot reverse shot or shot/counter-shot scene broken down into cause & effect reverse angle shot -fixed placement of characters shot to shot -common in dialogue parallel editing switching shots of one scene to next at different location greater number of cuts means: greater sense of speed & tension screentime physical length of filmstrip of shot determined by complexity of subject matter content curve point at which audience is able to assimilate most of the information tact respect for the audiences' intelligence "Intolerance" by D.W. Griffith was the first to use: thematic montage Griffith expanded the film techniques of: -locale changes -time lapses -shot variety -emphasis of psychological & physical details -overviews -symbolic inserts -parallels & contrasts -associations -POV shifts -simultaneity -motif repetition Griffith was more economical in shooting because: he filmed related shots in the same shooting schedule Soviet filmmakers expanded Griffith's: associational principals & established theoretical premise for montages