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Continuity Editing
Continuity editing is the process, in film and video creation, of combining more-or-less related shots, or different components cut from a single shot, into a sequence to direct the viewer's attention to a pre-existing consistency of story across both time and physical location. Often used in feature films, continuity editing, or "cutting to continuity", can be contrasted with approaches such as montage, with which the editor aims to generate, in the mind of the viewer, new associations among the various shots that can then be of entirely different subjects, or at least of subjects less closely related than would be required for the continuity approach. When discussed in reference to classical Hollywood cinema, it may also be referred to as classical continuity. The primary concept of continuity editing is connection between the director and the audience. On the one hand, the filmmaker wants the audience to focus on elements of the scene that are critical to the film's narrative. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Montage (filmmaking)
A montage ( ) is a film editing technique in which a series of short shots are sequenced to condense space, time, and information. Montages enable filmmakers to communicate a large amount of information to an audience over a shorter span of time by juxtaposing different shots, compressing time through editing, or intertwining multiple storylines of a narrative. The term has varied meanings depending on the filmmaking tradition. In French, the word applied to cinema simply denotes editing. In Soviet montage theory, as originally introduced outside the USSR by Sergei Eisenstein, it was used to create symbolism. Later, the term "montage sequence", used primarily by British and American studios, became the common technique to suggest the passage of time. From the 1930s to the 1950s, montage sequences often combined numerous short shots with special optical effects ( fades/dissolves, split screens, double and triple exposures), dance, and music. Development One of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Classical Hollywood Cinema
In film criticism, Classical Hollywood cinema is both a narrative and visual style of filmmaking that first developed in the 1910s to 1920s during the later years of the Silent film#Silent film era, silent film era. It then became characteristic of Cinema of the United States, United States cinema during the Golden Age of Hollywood from about 1927, with the advent of sound film, until the arrival of New Hollywood productions in the 1960s. It eventually became the most powerful and persuasive style of filmmaking worldwide. Similar or associated terms include classical Hollywood narrative, the Golden Age of Hollywood, Old Hollywood, and classical continuity. The period is also referred to as the studio era, which may also include films of the late silent era. History Silent era and emergence of the classical style For millennia, the only visual standard of narrative storytelling art was the theatre. Since the first narrative films in the mid-late 1890s, filmmakers have sought to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Diegesis
Diegesis (; , ) is a style of fiction storytelling in which a participating narrator offers an on-site, often interior, view of the scene to the reader, viewer, or listener by subjectively describing the actions and, in some cases, thoughts, of one or more characters. Diegetic events are those experienced by both the characters within a piece and the audience, while non-diegetic elements of a story make up the "fourth wall" separating the characters from the audience. Diegesis in music describes a character's ability to hear the music presented for the audience, in the context of musical theatre or film scoring. Origin ''Diegesis'' (Greek διήγησις "narration") and ''mimesis'' (Greek μίμησις "imitation") have been contrasted since Aristotle. For Aristotle, ''mimesis'' ''shows'' rather than ''tells'', by means of action that is enacted. ''Diegesis'' is the ''telling'' of a story by a narrator. The narrator may speak as a particular character, or may be the '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dissolve (film)
In the post-production process of film and video editing, a dissolve (sometimes called a lap dissolve) is a type of film transition in which one sequence fades over another. The terms fade-out (also called fade to black) and fade-in are used to describe a transition to and from a blank image. This is in contrast to a cut, where there is no such transition. A dissolve overlaps two shots for the duration of the effect, usually at the end of one scene and the beginning of the next, but may also be used in montage sequences. Generally, but not always, the use of a dissolve is held to indicate that a time has passed between the two scenes. Also, it may indicate a change of location or the start of a flashback. Creation of effect In the film, this effect is usually created with an optical printer by controlling double exposure from frame to frame. In linear video editing or live television production, the same effect is created by interpolating the voltages of two synchronized v ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dissolve (filmmaking)
In the post-production process of film editing, film and video editing, a dissolve (sometimes called a lap dissolve) is a type of film transition in which one Sequence (filmmaking), sequence fades over another. The terms fade-out (also called fade to black) and fade-in are used to describe a transition to and from a blank image. This is in contrast to a Cut (transition), cut, where there is no such transition. A dissolve overlaps two Shot (filmmaking), shots for the duration of the effect, usually at the end of one scene and the beginning of the next, but may also be used in Montage (filmmaking), montage sequences. Generally, but not always, the use of a dissolve is held to indicate that a time has passed between the two scenes. Also, it may indicate a change of location or the start of a Flashback (narrative), flashback. Creation of effect In the film, this effect is usually created with an optical printer by controlling double exposure from frame to frame. In linear video ed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Flashback (narrative)
A flashback, more formally known as analepsis, is an interjected scene (fiction), scene that takes the narrative back in time from the current point in the Plot (narrative), story. Flashbacks are often used to recount events that happened before the story's primary sequence of events to fill in crucial backstory. In the opposite direction, a flashforward (or prolepsis) reveals events that will occur in the future. Both flashback and flashforward are used to cohere a story, develop a character, or add structure to the narrative. In literature, internal analepsis is a flashback to an earlier point in the narrative; external analepsis is a flashback to a time before the narrative started. In film, flashbacks depict the subjective experience of a character by showing a memory of a previous event and they are often used to "resolve an enigma". Flashbacks are important in film noir and melodrama films. In films and television, several camera techniques, editing approaches and special e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Establishing Shot
An establishing shot in filmmaking and television production sets up, or establishes, the context for a scene by showing the relationship between its important figures and objects. It is generally a long or extreme-long shot at the beginning of a scene indicating where, and sometimes when, the remainder of the scene takes place. Establishing shots were more common during the classical era Classical antiquity, also known as the classical era, classical period, classical age, or simply antiquity, is the period of cultural European history between the 8th century BC and the 5th century AD comprising the interwoven civilization ... of filmmaking than they are now. Today's filmmakers tend to skip the establishing shot in order to move the scene along more quickly, or merely mention the setting in on-screen text (as is done in the ''Law & Order'' franchise). In addition, the expositional nature of the shot may be unsuitable to scenes in mysteries, where details are intentio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
180 Degree Rule
In filmmaking, the 180-degree rule is a guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. The rule states that the camera should be kept on one side of an imaginary axis between two characters, so that the first character is always Screen direction, frame right of the second character. Moving the camera over the axis is called ''jumping the line'' or ''crossing the line''; breaking the 180-degree rule by shooting on all sides is known as shooting in the round. The 180-degree rule enables the viewer to visually connect with unseen movement happening around and behind the immediate subject and is particularly important in the narration of battle scenes. Examples In a dialogue scene between two characters, a straight line can be imagined running through the two characters. If the camera remains on one side of this line, the spatial relationship between the two characters will be consistent from shot to shot. S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eyeline Match
An eyeline match is a film editing technique associated with the continuity editing system. It is based on the premise that an audience will want to see what the character on-screen is seeing. An eyeline match begins with a character looking at something off-screen, followed by a cut of another object or person: for example, a shot showing a man looking off-screen is followed by a shot of a television. Given the audience's initial interest in the man's gaze, it is generally implied on the basis of the second shot that the man in the first was looking at the television, even though the man is never seen looking at the television within the same shot. Alfred Hitchcock's ''Rear Window'', for example, makes frequent use of eyeline matches. The main character, played by James Stewart, is confined to his apartment and often looks out its rear window at events in the buildings across from him. Hitchcock frequently cuts from Stewart looking off-screen to various people and events that are ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cutting On Action
Cutting on action or matching on action refers to film editing and video editing techniques where the editor cuts from one shot to another view that matches the first shot's action. A common example is a man walking up to a door and reaching for the knob. Just as his hand touches the knob, the scene cuts to a shot of the door opening from the other side. Although the two shots may have actually been shot hours apart from each other, cutting on action gives the impression of continuous time when watching the edited film. By having a subject begin an action in one shot and carry it through to completion in the next, the editor creates a visual bridge, which distracts the viewer from noticing the cut or noticing any slight continuity error between the two shots. A variant of cutting on action is a cut in which the subject exits the frame in the first shot and then enters the frame in the subsequent shot. The entrance in the second shot must match the screen direction and motive ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
180-degree Rule
In filmmaking, the 180-degree rule is a guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. The rule states that the camera should be kept on one side of an imaginary axis between two characters, so that the first character is always Screen direction, frame right of the second character. Moving the camera over the axis is called ''jumping the line'' or ''crossing the line''; breaking the 180-degree rule by shooting on all sides is known as shooting in the round. The 180-degree rule enables the viewer to visually connect with unseen movement happening around and behind the immediate subject and is particularly important in the narration of battle scenes. Examples In a dialogue scene between two characters, a straight line can be imagined running through the two characters. If the camera remains on one side of this line, the spatial relationship between the two characters will be consistent from shot to shot. S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jump Cut
A jump cut is a cut (transition), cut in film editing that breaks a single continuous sequential shot of a subject into two parts, with a piece of footage removed to create the effect of jumping forward in time. Camera positioning on the subject across the sequence should vary only slightly to achieve the effect. The technique manipulates temporal space using the duration of a single shot—fracturing the duration to move the audience ahead. This kind of cut abruptly communicates the passing of time, as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard's ''Breathless (1960 film), Breathless'', which extensively used jump cuts and popularized the technique in the 1960s. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing, but are sometimes nonetheless used for creative purposes. Jump cuts tend to draw att ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
