Chapter 6: The Relation of Shot to Shot: Editing

Editing

the piecing together of individual shots. (Special effects, digital manipulation, sound editing, etc.)

Graphic relations

Graphics may be edited to achieve smooth continuity or abrupt contrast (ex: graphic match)

Rhythmic relations

Every shot is of a certain length, with its series of frames consuming a certain amount of time onscreen (ex: flash frames)

Temporal relations

The order of presentation of events (flashbacks, chronological order, flashforwards, etc.)

Spatial relations

How the positions of objects, characters, and settings in the frame relate to each other, creating a sense of space, distance, direction, and depth for the viewer

Extreme Long Shot (ELS):

The human figure appears tiny or lost in the frame; used for landscapes, city views, or vast environments.

Long Shot (LS):

The whole human figure is visible, but the background still dominates the image.

Medium Long Shot (MLS):

Frames the human body from about the knees up; balances the figure with the surroundings

Medium Shot (MS):

Frames the body from the waist up; gestures and expressions become easier to see.

Medium Close-Up (MCU):

Frames from the chest up; emphasizes facial expression more clearly.

Close-Up (CU):

Shows just the head, hands, feet, or a small object; highlights expression, gestures, or important details.

Extreme Close-Up (ECU):

Shows a very small part of the face or a tiny detail of an object; magnifies what’s most significant.

Kuleshov effect:

a series of shots without an establishing shot, but prompts the viewer to infer a spatial whole

Constructive editing:

Editing that suggests a scene’s space by providing only portions of it, without an establishing shot

Elliptical editing:

Shot transitions that omit parts of an event, causing an ellipsis in plot duration.

Overlapping editing:

Cuts that repeat part or all of an action, thus expanding its viewing time and plot duration

Parallel editing is called

crosscutting

Continuity Editing:

A system of editing designed to make space, time, and action flow smoothly across a series of shots; its overall goal is to present a clear, coherent story without confusing the viewer.

Axis of action: (180° line):

An imaginary line through the main actors or action in a scene. It shows what is to the left and right. To avoid confusing the audience, the camera should stay on one side of this line when cutting between shots

Shot/reverse shot:

Two or more shots edited together that alternate characters, typically in a conversation situation.

Cheat cut

allows for the director to slightly mismatch the positions of characters or actions.

Spatial and Temporal Discontinuity

A style of editing that intentionally disrupts the normal flow of space and time. By rearranging the order of story events or presenting time in an unclear way, it challenges viewer expectations and makes the audience actively piece together the film’s narrative.

Who was interested in the meaning that arose from juxtaposing disjunctive and disorienting shots, and creating conflict?

Sergei Eisenstein