The Origins of Editing Styles and TechniquesI. The Beginnings of Classical (Hollywood) EditingSlide 3Slide 4Slide 5Slide 6Slide 7Slide 8Slide 9Slide 10Slide 11II. Soviet Montage EditingSlide 13Slide 14Slide 15Slide 16Slide 17Slide 18Kuleshov Effect—Preliminary Empirical EvidenceSlide 20Kuleshov Effect—Possible sequencesSlide 22Slide 23Slide 24Cubism—Subject is “cut up” (decoupage), then re-assembled using various anglesSlide 26Slide 27Overlapping EditingSlide 29Slide 30Slide 31Slide 32Slide 33Elliptical (Jump Cut) EditingSlide 35Slide 36Slide 37Non-diegetic Inserts--ExampleNon-diegetic Inserts—Other Examples?Slide 40The Origins of Editing Styles and TechniquesCOM 320—History of the Moving ImageI. The Beginnings of Classical (Hollywood) EditingI. The Beginnings of Classical (Hollywood) Editing1. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting)-e.g., D. W. Griffith’s Broken Blossoms (boxing match vs. girl/Chinese man encounter)I. The Beginnings of Classical (Hollywood) Editing1. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting)-e.g., D. W. Griffith’s Broken Blossoms (boxing match vs. girl/Chinese man encounter)-e.g., lack of intercutting: The Life of An American Fireman (1903, George S. Fleming & Edwin S. Porter (uncredited))I. The Beginnings of Classical (Hollywood) Editing1. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting)2. Analytical editing-Breaks a single space into separate framingsI. The Beginnings of Classical (Hollywood) Editing1. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting)2. Analytical editing3. Continguity editing-Movement from space to space-e.g., Rescued by RoverI. The Beginnings of Classical (Hollywood) Editing1. Intercutting (between 2+ different spaces; also called parallel editing or crosscutting)2. Analytical editing3. Continguity editing4. Specific techniques1. 180-degree system (violated in Cabinet of Dr. Caligari)2. Point of view (POV)3. Eyeline match4. Shot/reverse shot1. l80o systemNoYes2. POV shot3. Eyeline match (and the Kuleshov Effect)4. Shot-Reverse-Shot seriesII. Soviet Montage EditingII. Soviet Montage Editing1. Many shotsII. Soviet Montage Editing2. Rapid cuttingII. Soviet Montage Editing3. Thematic montageII. Soviet Montage Editing4. Creative geographyII. Soviet Montage Editing5. Kuleshov EffectEstablished (??) by Lev Kuleshov in a series of experiments (poorly documented, however)Nature of the “Kuleshov Effect”—Even without establishing shot, the viewer may infer spatial or temporal continuity from shots of separate elements; his supposed early “test” used essentially an eyeline matchII. Soviet Montage Editing5. Kuleshov EffectKuleshov Effect—Preliminary Kuleshov Effect—Preliminary Empirical EvidenceEmpirical EvidenceEssential Kuleshov FRAMES Study 2011SOUP= ???COFFIN= ???GIRL WITH TEDDY BEAR = ???Kuleshov Effect—Preliminary Kuleshov Effect—Preliminary Empirical EvidenceEmpirical EvidenceEssential Kuleshov FRAMES Study 2011SOUP= HUNGERCOFFIN= SADNESSGIRL WITH TEDDY BEAR = ANGERKuleshov Effect—Possible sequencesKuleshov Effect—Possible sequencesEssential Kuleshov ManipulationCondition 1Condition 2Condition 3Condition 4Condition 5II. Soviet Montage Editing6. Contradictory spaceShots of same event contradict one another (e.g., plate smashing in Potemkin)II. Soviet Montage Editing7. Graphic contrastsDistinct change in composition or action (e.g., Odessa step sequence in Potemkin)II. Soviet Montage Editing8. Cubism? From Yuri Tsivian’s analysis on the Strike DVD: Multiple views of the scene are presented, views that are not POVs of any characters in film–like the work of a cubist artistCubism—Subject is “cut up” (decoupage), then re-assembled using various anglese.g., Pablo PicassoII. Soviet Montage Editing9. IntercuttingExpanded use from GriffithII. Soviet Montage Editing10. Overlapping editingRepetitions expand the time of the event shownLater example–Babe (in-class showing)Later example—Mission Impossible 2Overlapping EditingOverlapping Editing1 2 3 4 5 6 7 8 91 2 3 4Angle AOverlapping EditingOverlapping Editing1 2 3 4 5 6 7 8 91 2 3 4 4 5 6 7 8Angle A Angle BOverlapping EditingOverlapping Editing1 2 3 4 5 6 7 8 91 2 3 4 4 5 6 7 8 7 8 9Angle A Angle B Angle COverlapping EditingOverlapping Editing1 2 3 4 5 6 7 8 91 2 3 4 4 5 6 7 8 7 8 9Angle A Angle B Angle COverlapping EditingOverlapping EditingMission Impossible 2Mission Impossible 2, John Woo, 2000:, John Woo, 2000:II. Soviet Montage Editing11. Elliptical cutting/Jump cuttingOpposite effect of overlapping editingA portion of the event is left out (often via jump cuts), so the event takes less time than it would in realityLater examples–Rocky Horror Picture Show, Basquiat (in-class showing)Elliptical (Jump Cut) EditingElliptical (Jump Cut) Editing1 2 3 4 5 6 7 8 91 2 3 4 7 8 9Angle AII. Soviet Montage Editing12. Nondiegetic insertsElements from outside the “story world” (diegesis) are inserted for symbolic or metaphorical purposese.g., Slaughterhouse/police attack in StrikeII. Soviet Montage Editing12. Nondiegetic insertsElements from outside the “story world” (diegesis) are inserted for symbolic or metaphorical purposese.g., Slaughterhouse/police attack in StrikeLater examples–Naked Gun 2-1/2, My Own Private Idaho, Basquiat (in-class showing)Non-diegetic Inserts--ExampleNon-diegetic Inserts--ExampleNaked Gun 2-1/2 Naked Gun 2-1/2 12 inserts during sex scene:12 inserts during sex scene:A flower openingA flower openingRaising of a pillar in ancient EgyptRaising of a pillar in ancient EgyptRocket blasting offRocket blasting offMan putting a hot dog in a bunMan putting a hot dog in a bunMan being shot out of a cannon at a circusMan being shot out of a cannon at a circusTrain going through a tunnelTrain going through a tunnelOil rigs moving up and downOil rigs moving up and downA roller coaster going upside downA roller coaster going upside downA submarine firing a torpedoA submarine firing a torpedoA levee breakingA levee breakingFireworksFireworksA basketball being dunkedA basketball being dunkedNon-diegetic Inserts—Other