FPA 135 Lecture Notes - Lecture 5: Establishing Shot, Continuity Editing, Deepa Mehta
14 Mar 2018
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Document Summary
Developed by soviet filmmakers of the 1920s such as pudovkin, vertov and eisenstein. Emphasizes dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself. Unlike continuity editing, we notice the cuts. In the absence of an establishing shot, viewers assumed these pairs of images to be linked in space and time. Sergei eisenstein"s montage [man with a movie camera??] A series of short shots are edited into a sequence to condense space, time, and information. In battle potemkin (1925), the shots of stone lions juxtaposed in sequence suggest that one stone is leaping to life. Each shot is a montage cell": metric the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image. Creates tempo of the film: rhythmic includes cutting based on continuity, creating visual continuity from edit to edit.
