Editing

To place shots in a coherent order

The system of editing employed in narrative film is called continuity editing

Editing Film

1.    In film making, the task of selected and joining camera takes.

2.    In the finished film, the set of techniques that governs the relation among shots.

Editing is the process of preparing language, images, or sound through correction, condensation, organization, and other modifications in various media… Editing is, therefore, also a practice that includes creative skills, human relations, and a precise set of methods.

Juxtaposition – layout of a set of shots

The Kuleshov Effect, 1920 - Audiences interpreted emotional responses on the actors face based on the juxtaposition of images.

Contrast ‘four main functions’ of film editing;

·         Make sure that the production is required length of time.

·         To remove unwanted material or mistakes.

·         To alter if necessary the way or the sequence in which events will be portrayed.

·         To establish the particular style and character of a production.

Graphic Continuity

A graphic match is achieved by joining two shots that have a similarity in terms of light/dark, line or shape, volume or depth, movement or stasis.

A graphically discontinuous edit creates a clash of visual content by joining two shots that are dissimilar in terms of one or more of the above visual principles.

Rhythmic relations

Film is not only a visual art, but also an auditory and even tactile art. Therefore, editors also remain aware of the effects achieved by manipulating the rhythms experienced by perceivers through thoughtful juxtapositions of longer and shorter shots as well as through transitional devices that affect the perceivers sense of beat or temp.

Temporal relations

Editing is the process by which the difference between temporal duration and screen duration is reconciled.

The most common disruptions to chronological order are flashbacks and flash-forward.

Spatial relations

The audience can make sense of what they are seeing.

Thematic relations

Editors have at their disposal two very powerful techniques for manipulating the perceiver’s place in the hierarchy of knowledge, and therefore affecting our thematic understanding of the film.