Art Of Editing Midterm

Front 1

Identify 3 of the 5 questions Murch asks about the “central preoccupation of a film editor.”

Back 1

o What is the audience going to be thinking at any particular moment?

o Where are they going to be looking?

o What do you want them to think about?

o What do they need to think about?

o What do you want them to feel?

Front 2

Be able to define what is meant by “seeing around the frame.”

Back 2

See the actual scene and don’t take in to affect the conditions of the actual shoot.

Front 3

Be able to define the editor’s job in Murch’s “dream therapy” analogy.

Back 3

A technique that pars the patient, the dreamer, with someone who is there to listen to the dream. As soon as possible after waking, the dreamer gets together with his listener to review the dreams of the previous night.

Front 4

Explain what Murch sees as the main “drawback” of nonlinear computer assisted editing.

Back 4

You are shown only what you ask for. The avid is faster at it than the moviola, but the process is the same. Your choices can only be as good as your request.

Front 5

Be able to list and explain Walter Murch's list of six editing decisions on why to make a cut.

Back 5

Emotion

o Story

o Rhythm

o Eye-trace

o 2 dimensional plane of screen

o 3 dimensional space of action

Front 6

Be able to define a "seamless cut."

Back 6

A smooth cut. Cuts are logical (motion, emotional and timing)

Front 7

Be able to say what "Narrative Continuity" requires.

Back 7

Does the story make sense?

o Is it in chronological fashion?

Front 8

Be able to describe the "classic progression into and out of a scene."

Back 8

Establishing shot, WS, MS, CU, MS, WS

Front 9

6 decisions for making a cut

Back 9

Emotion

o Story

o Rhythm

o Eye-trace

o 2 dimensional plane of screen

o 3 dimensional space of action

Front 10

3 types of movement

Back 10

Physical
Emotional
Event

Front 11

Physical Rhythm

Back 11

sets up the kinesthetic empathy. Rythym created by the editor when she prioritizes the flow of the visible and audible physical movement in the film over other types of movement

Front 12

Rechoreographing

Back 12

changing the sequence of movements or the emphasis points in phrases

Front 13

Singing in rhythm

Back 13

The movements “sound” in editors heads with their timing, pacing, and trajectory phrasing making a kind of song. Tuning your awareness to the song in your head.

Front 14

Cutting an actors emotional performance

Back 14

* An editor can look at an actors blink and determine the rise and fall of a characters emotional dynamic
* Face and body also make a dance of emotions. Pauses, hesitations, shifts of position, etc.

Front 15

Throwing energy dance game

Back 15

* First dancer pretends she has a ball of energy in her hands. Its invisible and she moves her hands around it. Then its passed to the next dancer.
* Throwing energy is what the editor is doing with cuts. An editor chooses the first shots duration and frame to throw energy then it is juxtaposed with another shot. The second shot gets energy from the first shot.

Front 16

3 phases of movement

Back 16

* Prepare
* Action
* Rest

Front 17

Action for an actor

Back 17

the actors psychological intention spelled out as a verb. Gives the actor something to do rather than to be

Front 18

Beats

Back 18

* the point in which an actor changes or modifies his action

Front 19

Audience in event rhythm

Back 19

It’s a storytelling process. Shapes the ebb and flow of tension and release and the synchronization of attention over the whole.

Front 20

Dramatic Question

Back 20

a question with something at stake and an action implied

Front 21

Why is it important to distinguish the different types of rhythm?

Back 21

o Its useful as a method for understanding aspects of the whole. it is a way of talking about strands of rhythm that may always, or at any given point, be present in any 2 shots.
o Also to know what dominates the movie you are cutting (what kind of movie? What kind of sequence/cut? Etc).

Front 22

Seven Elements that make up the role of the editor

Back 22

Select
Combine
Condense
Refine
Maintain
Remain an objective reviewer. Voice of reason
How to be a fixer/problem solver

Front 23

Shared tools

Back 23

* WS, MS, CU, ECU, establishing shot
* POV, 2/1 shot, Low/High angle
* Master scene
* Coverage
* Style of film

Front 24

Unique tools

Back 24

* Cut: decides portions to use
* Overlap cuts/L and J cuts
* Jump cut
* Parallel Cut: out of sight
* Form cut/Match cut: Indiana Jones
* Transition affects: wipe, dissolve, fade
* Shot to shot: Italian Job

Front 25

Juxtaposition

Back 25

when 2 objects meet what is then created

Front 26

Continuity Editing

Back 26

is the predominant style of editing in narrative cinema and television. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots.

Front 27

Dialectic Editing (montage)

Back 27

different ideas together (rocky, karate kid)

Front 28

Action match editing

Back 28

It is a cut in film editing from one scene to another in which the two camera shots' compositional elements match, helping to establish a strong continuity of action - and linking two ideas with a metaphor.

Front 29

Discontinuity. How it relates to the gestalt impulse

Back 29

* Gestalt Impulse: to make sense of what we see. The viewer will organize the pattern of sounds and images into a progression of thought
* Take different images to make sense of it
* Creates what can be thought of as a jagged edge. To create a subject of extreme subjectivity

Front 30

POV and subjective or objective treatment

Back 30

* POV: point of view
* Subjectivity: perception, make own ideas
* Objectivity: truth without alternate implications

Front 31

Pacing

Back 31

a felt experience of movement created by the rates and amounts of movement in a single shot and by the rates and amounts of movement across a series of edited shots

Front 32

Rhythm

Back 32

is time, energy, and movement shaped by timing, pacing, and trajectory phrasing for the purpose of creating cycles of tension and release

Front 33

Tools available to a sound editor

Back 33

* Synchronous and Asynchronous sound (with picture)
* Diagetic/Nondiagetic sound

Front 34

Synchronous

Back 34

sounds are those sounds which are synchronized or matched with what is viewed

Front 35

Asynchronous

Back 35

sound effects are not matched with a visible source of the sound on screen.