![]() Editing can produce meaning by combining shots in an infinite number of ways. The Elements of EditingĮditing involves decisions about which shots to include, the most effective take of each shot, the arrangement and duration of shots, and the transitions between them. ![]() On film, the length of a single take was limited by how much stock the camera could hold on digital video, the duration of a shot is virtually limitless. Another significant benefit of digital editing is longer shot length. Although one effect of the ease and affordability of digital editing seems to be a more rapid pace of editing, digital filmmaking can also embrace the opposite aesthetic effect. Computer-based digital editing systems allow immediate access to footage and unprecedented opportunities to manipulate and combine images in new ways. One of the most significant changes to film editing was the emergence of digital editing in the later part of the twentieth century. However, these avant-garde practices were later assimilated into the mainstream aesthetics of fast-paced editing and frenetic camera work, like that seen in commercials, music videos, and Hollywood action films. Various strategies of disjunctive editing, such as jump cuts, were utilized in the artistic cinema of directors like Jean-Luc Godard, who sought to provide an alternative aesthetic to Hollywood. In the post–World War II period, alternative editing styles emerged and aimed to fracture classical editing’s illusion of realism. Beginning in the 1940s, cinematic realism became established as one of the primary aesthetic principles in film editing, influenced in part by Italian neorealism and documentary filmmaking practices. The introduction of sound technology in the late 1920s solidified Hollywood’s commitment to continuity editing, an approach that emphasizes spatial and temporal clarity in order to present a story to an audience in a logical and coherent manner. ![]() While montage is simply the French word for editing, the term has come to designate a theory of editing that emphasizes the breaks and contrasts between images joined by a cut. The concept of editing as montage is closely associated with Soviet filmmaker Sergei Eisenstein. Griffith helped pioneer the editing technique of crosscutting, or parallel editing, which involves alternating among multiple strands of simultaneous story action. While not the first filmmaker to use it, D. By 1906, the period now known as “early cinema” gave way to narrative-driven cinema, a transition facilitated by more codified practices of editing. Early filmmaker Georges Méliès used stop-motion photography, and later editing, to create delightful visual effects. In the late nineteenth century, illustrated lectures using photographic slides became popular.įilms quickly evolved from the use of single shots to the use of multiple images to tell a story. These images ranged from cave paintings to religious triptychs to comic strips. ![]() Long before film technology was invented, people used images to tell stories. The power and art of film editing lie in the ways in which the hundreds or thousands of discrete images that make up a film can be shaped to make sense within the narrative arc of the film or to have an emotional or visceral impact upon the audience. Untitled Document The Film Experience: Chapter 4 SummaryĮditing is the process of cutting and combining multiple shots into sequences that present events and story information. ![]()
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