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Lesson 4 Lesson 4: Editing Editing Professor Aaron Baker

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Previous Lecture Mise-en-Scene Narrative Function in Smoke Signals (1998)

TRANSCRIPT

Page 1: Lesson 4: Editing Professor Aaron Baker

Lesson 4Lesson 4:EditingEditing

Professor Aaron Baker

Page 2: Lesson 4: Editing Professor Aaron Baker

Previous LecturePrevious Lecture

• Mise-en-Scene• Narrative Function

in Smoke Signals (1998)

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Page 3: Lesson 4: Editing Professor Aaron Baker

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This Lecture This Lecture

• Editing• Continuity and

Discontinuity in The Limey (1999)

Page 4: Lesson 4: Editing Professor Aaron Baker

Part I: EditingPart I: Editing

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Editing Editing • Coordinating One

Shot with Next• Most Analyzed

Aspect Film Form• First Films Just

One Shot• Now Hollywood

Films 1-3 K5

1896 - Edison's film entitled The Kiss saw May Irwin and John C. Rice re-enact the final scene from the Broadway play musical The Widow Jones - it was a close-up of a kiss.

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Ways to EditWays to Edit

• In-Camera• Storyboarding• Editing Table• Now Computerized• Final Cut Back on

Negative

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Shot RelationsShot Relations

Four Principles by Which to Connect Shots:

• Graphic - Composition• Rhythmic - Length• Spatial - Build Space• Temporal Relations - Define Time

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Graphic EditingGraphic Editing

• Continuity • Contrast• Pictorial Content• Movement/Stasis

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Page 9: Lesson 4: Editing Professor Aaron Baker

RhythmicRhythmic• Temporal Length of

Shot• Long Shots –

contemplative • Short Shots –

energy• ASL in Hollywood

Now: Few Seconds 9

Page 10: Lesson 4: Editing Professor Aaron Baker

Spatial RelationsSpatial Relations

• Editing Can Create Story Space

• Spaces Juxtaposed to Suggest Contiguous

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CrosscuttingCrosscutting

• Parallel Editing • We See Simultaneous Actions in Different

Spaces• Spaces Linked• Cause and Effect Relationship Between Actions in Two Places

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Crosscutting (continued)Crosscutting (continued)

• Unrestricted Range of Knowledge

• Please watch the clip to see e.g. of crosscutting in Syriana (2005).

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Page 13: Lesson 4: Editing Professor Aaron Baker

Four Spaces ParalleledFour Spaces Paralleled

Editing Here Connects Four Spaces:

• Convoy• CIA• Oil Execs at Banquet• Clooney Character

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Page 14: Lesson 4: Editing Professor Aaron Baker

Editing and Time Editing and Time

• Controls Time of Story• Supports Plot’s Manipulation of

Story• Determines Order, Duration, Frequency of Story Actions

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Part II:Part II:Continuity and Discontinuity Continuity and Discontinuity

Editing in Editing in The LimeyThe Limey

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OrderOrder• Usually Chronological• Flashbacks• Flashforwards• Please watch a clip

from The Limey.• Back and Forth in

Conversation, Plane, Gun, Warehouse

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MemoryMemory• Present Tense: Wilson in LA for Revenge• Flashbacks to Memories: Plane, Jenny as

Girl, When She Confronted Drug Smugglers

• His Motivation

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Page 18: Lesson 4: Editing Professor Aaron Baker

RevengeRevenge• Flashforwards

Show What Wilson Wants

• Hint at Why Won’t Satisfy

• Violent Future Can’t Change Past Failed Relationship

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E.g. Editing Often EllipticalE.g. Editing Often Elliptical

• Events Shown With Less Screen Time Than in Story

• Less Important Events Omitted By Plot

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Overlapping Editing Overlapping Editing • Repeating an Action to Expand Story Time• Lends Emphasis• Please watch a clip from Do the Right Thing

(1989)• Important Action: Can Hits Window Twice

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Page 21: Lesson 4: Editing Professor Aaron Baker

Continuity EditingContinuity Editing

• Dominant in Hollywood Film

• Certain Rhythms: Long Shots Longer than Close Ups

• Main Objective: Clear Space and Time to Tell Story

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Page 22: Lesson 4: Editing Professor Aaron Baker

Continuity TransitionsContinuity Transitions

Move Story Forward, Demphasize Editing:• 180 Degree Rule• Match on Action• Eyeline Match• Shot/Reverse Shot

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Other TransitionsOther Transitions

• Fade out/in• Dissolve • Time Passing• Wipe • Iris • Straight Cut• Still Aide Story

Less Invisible

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More Continuity DevicesMore Continuity Devices

• Establishing Shot – Whole Narrative Space

• Breakdown (Coverage) – Closer Views

• Restablishment Shot – New Character, Action

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Such Analytical Cutting Such Analytical Cutting

• Directs Our Attention • Emphasizes Dialogue, Reaction, Cause and Effect • Create Narrative Continuity

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The LimeyThe Limey

• Please watch a clip from The Limey that illustrates analytical editing.

• In this scene, Wilson hunts Valentine down in his Big Sur house.

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Page 27: Lesson 4: Editing Professor Aaron Baker

Establishing ShotEstablishing Shot

• Of driveway • Followed by closer

shots in house• Gunfight• Restablishing shots

as Valentine escapes house, Wilson follows

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Intensified ContinuityIntensified Continuity

• 1930-60 Classical Continuity Style

• 300-500 Shots• Now 1-3 K• New Continuity to

Match New Pace

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Contemporary EditingContemporary Editing

• More Close Ups (CUs)• Closer Framing Easier to Understand

When Shots are Short• Mobile Camera

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1960- Present1960- Present Films Seen on TV Films Seen on TV

• Faster Editing, Moving Camera Energize Smaller Image

• Holds Viewer Attention in Era of Distraction

• CUs Present More on Smaller Screen

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Discontinuity Editing Discontinuity Editing

• Connections Not Obvious, Invisible

• Viewer Interprets Assigns Temporal,

Spatial, Causal Relations

Between Shots 31

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Discontinuity DevicesDiscontinuity Devices• Jump Cut: Transition from one shot

to next “jumps” on screen• Makes viewer aware of

editing• What is filmmaker

presenting in these shots?

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Page 33: Lesson 4: Editing Professor Aaron Baker

Discontinuity in Discontinuity in The Limey The Limey

• Please rewatch the first part of the clip we saw earlier from The Limey.

• Jump Cuts as Eduardo and Wilson Talk

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Discussion QuestionsDiscussion Questions

• Why these jump cuts?• Asking Us to Evaluate Characters? • Post a response on the eBoard to these

questions and the comment of a colleague.

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Summary Summary

• Editing• Continuity and

Discontinuity• The Limey (1999)

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Next Lecture: Cinematography36

End of Lecture 4End of Lecture 4