Editing and the production of new meanings in films

2019

A phenomenological look on film editing through Merleau-Ponty’s ideas opens up a new way of seeing what editing is and how it affects the spectator. In the classical sense, editing is looked at technically where certain aspects of its use in the film’s language are interpreted and analyzed to understand why and how something is done. In this thesis, the aim is to not dwell on understanding the why and the how. The aim is to view film editing from a different perspective that might lead to another type of thinking outside the limitations of empirical and intellectualist approaches. While the classical approach is able to satisfy most of what a spectator would need to understand, it falls short on what the spectator feels and experiences. In order to try to grasp how Merleau-Ponty’s phenomenological approach could be adapted to film editing. First we have to start from the beginning to see how editing came to be and what ideas, approaches and techniques it brought with it. As all the approaches have their own uses; we have to consider them as such and lay out what could be with Merleau-Ponty’s way and see how all the approaches compare in the end. Of course, this does not mean erasing all of film history and disregarding the classical way; it means that we can look at films from a perspective that the classical approach may not be able to see. Keywords: film history, film theory, film editing, phenomenology, perception, experience, body, spectator.

1. Introduzione 2. Montaggio come connessione 3. Il montaggio "classico" o "della continuità" 4. Montaggio e spazio della storia 5. Montaggio e tempo della storia 6. Piani-sequenza e profondità di campo 7. Altri tipi di montaggio: le alternative alla continuità 1. Introduction 2. Editing as connection 3. "Classical" or "continuity" editing 4. Editing and story space 5. Editing and story time 6. Sequence shots and depth of field 7. Other kinds of editing: alternatives to continuity This document is available in both English and Italian. The online version is available at http://www.cinemafocus.eu/Linguaggio%20cinematografico/montaggio.html

Art in Translation, 2016

Film Editing: Emotion, Performance, Story, 2021

Combining history, practice, and theory, FILM EDITING: EMOTION, PERFORMANCE, STORY, investigates why certain editorial decisions can encourage the emotional and narrative engagement of the viewer. Examples from features, short films and commercials support a textual and visual analysis of different editing styles and techniques to provide editors with a context on which to build their practice. This book takes a discursive approach exploring the many options open to the editor whether this is the fine point at which to cut or the exact structuring of scenes within a whole film. Examples are closely analysed and discussed using frame grabs, graphics and plans. Discussions on our psychological and cognitive behaviour are opened and questions are raised about how certain picture and sound configurations can guide the viewer to connect emotionally with the story and the characters. Interspersed with chapters on the fundamental tools of editing; Montage, Continuity, Sound and Performance are studies of three editing strategies. Each is a method of persuasion that the editor can use to elicit a response in the audience, whether that is sympathy for a character or their belief in the fictional world. The three chapters concentrate on the use of parallel action in creating tension and sympathy, the use of the perceptual and mental point of view and how the interpretation of rhythm can influence empathy and engagement. The focus of the book is on the process of editing, the how and the why, in the recognition that it is a dialogue between the editor and the viewer.

This project investigates the appearance of intervals, shots and frames in the work of three filmmaker/theorists: Dziga Vertov, Stan Brakhage and Rose Lowder. Each chapter includes a close Interval Analysis of a film sequence by each of the filmmakers, examined frame-by-frame. The close analysis prompts practical experimentation and then rigorous analysis of the resulting films in order to identify and apply a distinctly intervallic approach to editing. The final chapter analyses the films made as part of this project and the application of the thesis proposed. The intervals are located in the spaces between the 24 frames that make up a second of filmic time. The interval is also a kinetic event: the gap between two frames filmed concurrently represents the omission of an image of that fraction of time, the two frames differ slightly – it is this difference (created by wind on sunflowers in a field for example) that, when the frames are projected in succession, gives the impression of continuous movement. Werner Nekes defined the smallest unit of cinema as the Kine: the two-frame unit. Whereas Eisenstein had championed the importance of the photogram - the single frame - Nekes, and Peter Kubelka, insisted that ‘the film frame & the interval between two frames’ (Weibel, 1979: 111) were necessary to observe the distinct mechanism of cinema. Vertov defines the interval as the transition between shots, and states that these connections are more important than the shots themselves in bringing the film to a ‘kinetic resolution’. Vertov’s definition stresses the importance of the intervals in connecting the individual movements (contained in the shots) and bringing together the shots and sequences that make up the film. There is an implication of rhythm here, the intervals connect the rhythms contained in each shot into larger phrases and then sequences and form part of the structure of the film as a whole. This study aims to demonstrate how with particular attention to the intervals between frames and shots, there can be identified a distinctly intervallic approach to editing, evident in the work of these three filmmakers. It also claims that investigation, analysis and application of this intervallic approach can have an impact on digital video editing practices.

1969

Cinémas, 2002

Once shooting is over, the process of filmmaking is only half way through: in post-production, editing becomes of paramount importance. Just as words, phrases and sentences are assembled to make up a whole text, shots, scenes and sequences are put together to reach what has become known as "the final cut". By examining excerpts from such films as "Breakfast at Tiffany's", "Ciizen Kane" and "Mission": impossible, this Dossier sets out to discover the multiple ways in which time, space and logical relationships are treated through editing in order to interact with other aspects of film language, thus ensuring a film's continuity.

Capture : Jurnal Seni Media Rekam

This study aims to determine the editing technique that is applied to the Rectoverso film and to know how editing can form storytelling in the Rectoverso film. The study used descriptive qualitative approach. Data collection used interviews, observation, and literatures. Data analysis was performed based on the theories on Miles and Huberman, namely data reduction, data presentation, drawing conclusions, and verification. Type of editing applied in the film Rectoverso is continuity editing. This type of editing to ensure the achievement of sustainability of a series of stories in the scene of action. There are seven techniques and processes used to achieve the editing, namely Rules 1800, Shot/Reverse-shot, Establishing/reestablishing shot, eye line match, cutting point of view, cut-in, and match on action. The conclusions of the study that the use of continuity editing can form storytelling and supporting each scene in the movie. The splicing shot and scene shows the implicit messag...