Film Study - Different Types of Editing and Cut Shots
Editing: the coordination between one shot with the next frames can be joined by several different types.
Fade-out: gradually darkens the end of a shot to black.
Fade-in beginning of a framel lightens the frame from black
Dissolve: briefly superimposes the end of a shot A and the beginning of shot B
Wipe: Shot A replaces Shot B by means of a boundary line line moving across the screen, wipes one image away while bringing about a new one.
Cut: the most common means of joining two shots; instantaneous change from one shot to another
Editing lets the film maker play with four different aspects: Graphic relations between shot A and shot B, Rhythmic relations between shot A and shot B, Spatial relations between shot A and shot B, and Temporal relations between shot A and shot B. Editing need not be graphically continuous
Graphic Relations:
Graphic match: links shots by graphic similarities, shapes, colors, overall composition or movement in shot A may be picked up in the composition of shot B
Rhythmic Relations: When the filmmaker adjusts the length of shots in relation to one another, she or he is controlling the rhythmic potential of editing.
Spatial Relations:
Editing usually serves not only to control graphics and rhythm but also to construct film in space.
Kuleshov Effect: any series of shots that in the absence of an establishing shot prompts the spectator to infer a spatial whole on the basis of seeing only portions of the space. Editing cues to the spectator to infer a single locale.
Editing can also emphasize action taking place in separate places; ie cuts from one setting and time to another, this is parallel editing known as crosscutting, common way films construct a variety of spaces.
Temporal Relations.
First there is order/presentation of events, editing can control temporal succession in a film, Citizen Kane, series of flashback cut back to present.
Flashbacks: presents one or more shots out of their presumed story
Fade-out: gradually darkens the end of a shot to black.
Fade-in beginning of a framel lightens the frame from black
Dissolve: briefly superimposes the end of a shot A and the beginning of shot B
Wipe: Shot A replaces Shot B by means of a boundary line line moving across the screen, wipes one image away while bringing about a new one.
Cut: the most common means of joining two shots; instantaneous change from one shot to another
Editing lets the film maker play with four different aspects: Graphic relations between shot A and shot B, Rhythmic relations between shot A and shot B, Spatial relations between shot A and shot B, and Temporal relations between shot A and shot B. Editing need not be graphically continuous
Graphic Relations:
Graphic match: links shots by graphic similarities, shapes, colors, overall composition or movement in shot A may be picked up in the composition of shot B
Rhythmic Relations: When the filmmaker adjusts the length of shots in relation to one another, she or he is controlling the rhythmic potential of editing.
Spatial Relations:
Editing usually serves not only to control graphics and rhythm but also to construct film in space.
Kuleshov Effect: any series of shots that in the absence of an establishing shot prompts the spectator to infer a spatial whole on the basis of seeing only portions of the space. Editing cues to the spectator to infer a single locale.
Editing can also emphasize action taking place in separate places; ie cuts from one setting and time to another, this is parallel editing known as crosscutting, common way films construct a variety of spaces.
Temporal Relations.
First there is order/presentation of events, editing can control temporal succession in a film, Citizen Kane, series of flashback cut back to present.
Flashbacks: presents one or more shots out of their presumed story