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THR334Film & MoviesTextbook Spring 2003: How to Read a FilmSubscribe to Open Class @ 200x AestheticsFilm & Video Directing (Spring 2004): textbook Grammar of the Film Language by Daniel Arijon
Where and when to talk about PAN, Travelling Camera and the Zoom?
Must remind that everything is based on Spectatorship philosophy. Screen Events are assembled in the spectator's mind. Action is an emotional trajectory.
Editing is the process of selecting and assembling various motion picture shots and sound tracks into a coherent whole.
The first stage of editing begins when the editor receives the "dailies" or "rushes" (lesser quality prints from the original negative of footage shot the previous day). He or she synchronizes the dailies with the corresponding sound track, which has been transferred to magnetic stock. When shooting is finished a "rough cut" is made, combining what seem to be the best shots in such a way as to constitute a continuous progression.
Notes
The classical Hollywood narrative film is usually cut according to the rules of "continuity" or "invisible" editing, so that the viewer is unaware of shot transitions. This type of editing optimizes the illusory power of cinema and allows the viewer to become absorbed by the narrative. Continuity editing can work only if the director shoots the original sequence according to certain rules. These rules include the 180-degree rule (drawing an imaginary line through the action and shooting from only one side of that line) and the 30 degree rule (moving camera set-ups at least 30 degrees from each other during a scene).
Continuity editing in narrative filmmaking is used to condense time and space as well as to emphasize story elements, structuring the narrative material so that patterns of meaning are created. The development of this type of editing is credited to Edwin S. Porter and D.W. Griffith; Griffith displayed extraordinary skill at cutting to build suspense and emotional identification with characters.
NB. There are many (MUST) rules. In addition to DoNot Page I should have DO page. For example, breaking the clamatic action into several shots. The need for CU shots. Only understanding the dramatic need (camera motivation) we can discuss the formal resolutions. Paper-editing is to serve the IDEAS of motions.
Remember: a forward cut -- from a full shot to a MS or CU!
The actor or the camera finished move
An action in a neutral direction.
A reverse angle (after the player stops in the first shot)
[ cases ]
PS
The audience have the natural unconscious need to have a closer look at the subject of attention and cutting after the motion makes the cut stronger (visible, stressed).
THE FRENCH CONNECTION by ERNEST TIDYMAN and WILLIAM FRIEDKIN * DIRECTOR: William Friedkin
[fragment]
... Long view of CHARNIER and DOYLE about thirty feet apart on
the platform, a second train approaching.
INT. SUBWAY TRAIN
A close view of DOYLE just inside the doors of the car
sneaking a peek at the platform. We can see that CHARNIER
is not there. He's on the train. Suddenly CHARNIER
reappears on the platform. DOYLE steps off.
EXT. SUBWAY PLATFORM
Long view from DOYLE's vantage point of CHARNIER standing
with his back to the train, looking up like a man who can't
make up his mind, then turning to his left, away from DOYLE
and getting back on the train.
INT. SUBWAY TRAIN
View from interior of DOYLE car of JIMMY DOYLE nipping back
onto car. [68]
INT. TRAIN - CHARNIER'S CAR
Close view of subway doors hissing shut and an umbrella
being raised at the last moment by an off-camera hand
(CHARNIER's). The doors jerk open in the safety spasm.
There is a blur of the a fabric moving across the camera,
blocking the view of the doors. It is only a moment. When
it clears, the doors are closed again, the umbrella is gone.
But we don't know what happened and the train isn't moving.
INT. SUBWAY TRAIN - DOYLE'S CAR
Rear close view of DOYLE peeking into the forward car to see
where CHARNIER is sitting.
INT. TRAIN - CHARNIER'S CAR
Quick, shocked close view of that car, revealing that
CHARNIER isn't there among the twenty passengers dozing or
moping in their seats. There is a blurred flash as if
DOYLE's own eyes are spinning frantically back to the
windows of his own car.
EXT. SUBWAY PLATFORM
Medium shot of DOYLE jumping out of train, CHARNIER jumping
back on - train takes off.
INT. SUBWAY TRAIN - CHARNIER'S CAR
A close view of CHARNIER's face. He is smiling directly at
DOYLE. He gives him a little wave.
A view from CHARNIER's position of DOYLE chasing the train,
anger and hatred and frustration storming across his face.
amazon.com * movimaking online book * wikipedia
