Editing – October 18th.docx

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18 Apr 2012
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Lecture Structure
1) Duration of the Image
2) Editing: Introduction
3) Editing: a) Types of Transitions
4) Editing: b) Dimensions of Film Editing: i) Graphic Relations
ii) Rhythmic Relations
Next Week: iii) Spatial Relations
iv) Temporal Relations
- Temporal duration of the image is the province of cinematographic properties as long as that
duration is uninterrupted.
- Filmmaker can change the duration of a single shot, without changing the duration of the scene
- A long take is a shot which exists for a considerable amount of time 30-45 seconds
(usually 30-45 seconds)
long take = ‘refusal’ of editing
Do not confuse long take with the long shot
Typically combines different camera movements
- A long take which possesses its own internal logic and seems self-sufficient is often called a
sequence shot.
- The long take emphasizes how film determines the duration of the audiences exposure to the
medium, as opposed to a painting where the audience decides how long.
- Warhol’s films often composed of static long takes, such as empire state building, sometimes
30 minute long takes
- How can one have more story time than screen duration in a single long take?
Stitch it together to look like one shot
Multiple takes put together with it seeming like there is one camera in space and time
- Static long shots emphasize any change in the scene
- Long shots are often implemented to show there is no manipulation, sometimes in order to
protect an artist’s/dancer’s integrity
-Editing is both additive (shots are strung together) and subtractive (one shot must give way to
another); it affects the structure of the presented material rather than the actual content of the
image
- Editing affects the structure of the presented material rather than the actual content of the
image.
- Fade out, fade in is a more definitive transition time has passed between shots
- Types of transitions:
- Dimensions of Film Editing:
graphic relations
A deliberately emphasised link between an aspect of Shot A and a similar aspect of Shot B is
termed a graphic match
rhythmic relations
Rythmic relations among shots are determined by the temporal duration of the shots; brief shots
edited together typically create a quick tempo
The closer and more angled the shot is, the more dynamic it seems
spatial relations
temporal relations