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Lecture 3

ENGB70H3 Lecture Notes - Lecture 3: Eyeline Match, 180-Degree Rule, Soviet Montage Theory


Department
English
Course Code
ENGB70H3
Professor
A Maurice
Lecture
3

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LECTURE 3
Friday, January 22, 2016
Editing - Relating Images and Creating Meaning
Continuity Editing
Continuity style (standardized by Hollywood, dominant mainstream style)
Creating spatial and temporal coherence, smooth transitions and verisimilitude; making an
extremely discontinuous production process result in a seamless effect
Challenge (even paradox) of making a seamless whole out of multiple cuts. How to make
multiple cuts not jarring - even "invisible" to viewers
Patterns, Rules and Techniques
Establishing shot
Master shot (another name for establishing shot)
180 degree rule (180 degree line or axis of action)
Shot/reverse shot
Point-of-view shot (subjective shot)
Match Cuts
Match on action
Eye-line match
Graphic match
Soviet Montage
Refers to pioneering editing as it was practiced by Russian filmmakers working and experimenting with
cinema in the wake of 1917; a style that emphasizes the breaks and contrasts between images joined by
a cut, following Soviet silent-era filmmakers. Sometimes referred to as "dialectical editing," "disjunctive
editing" or "intellectual montage"
State-sponsored filmmaking in the wake of the revolution
Important, influential - world took note of the Soviet filmmakers including Eisenstein, Pudovkin,
Vertov, Kuleshov and others
Differed in their approaches but all believed editing was what made cinema unique, "Kuleshov
Experiment"
Sergei Eisenstein
Battleship Potemkin - a film about the revolutionary events of 1905
Features famous "Odessa Steps" sequence
"All Art is Conflict"
"Cinema is Montage"
Thesis + Antithesis = Synthesis (clashing forces leads to history/moving forward, history is not linear)
Dialectic; Marxist/Hegelian model of history; Eisenstein sought to apply it to aesthetics (theory
of art)
For Eisenstein, montage (editing) = collision of images to produce ideas
Shot is not a building block but a "cell" (shots are an organic process, they come together and create
ideas in the viewers not on the screen)
Cross-cutting or Parallel editing: cuts back and forth between actions in separate spaces, usually
implying simultaneous action
Kinds of cuts that interrupt "continuity":
Overlapping edit: shots of same action edited together o that part or all of action repeated
Jump cuts: edit that would create spatial or temporal discontinuity, disorienting to viewer
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