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60 Cards in this Set
- Front
- Back
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Fade-Out
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The shot darkens to black. Modeled after stage lights, one of the first to be used by early editors.
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Fade-In
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The Shot lightens from black
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Dissolve
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A brief superimposition of two shots. Used after Fade, but still rater early on.
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Wipe
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Shot B replaces Shot A with a boundary line moving accross the screen. Like Star Wars. Had to wait for the optical printer to be created for use.
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Cut
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The most common form of transition in Modern cinema, however was the last to be implemented. Shot A ends and Shot B begins.
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The four basic areas of control for Editors
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Graphic relations between Shots A and B; Rhythmi c relations between shots A and B; Spatial relations between shots A and B; Temporal relations between shots A and B.
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Graphic Match
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When the filmmaker links two shots together for purely pictoral qualities.
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Editing for Rhythm
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Shots said to be edited for rhythm when filmmaker adjusts the length of shots in relation to one nother. Will use shot duration to create a stressed, accented moment; or will use shot duration to deaccentuate an action.
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Kuleshov Effect
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Any series of shot in the abscence of an establishing shot prompts the spectator to infer a spatial whole on the basis of seeing only portions of the space.
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Crosscutting
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Also known as Parallel editing. Going back and forth between two different scenes. More on these later.
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Temporal relations in Narrative film
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Editing usually contributes to the plot's manipulation of story time.
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Flashbacks
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When the diegesis briefly goes to a point earlier in time. In the classical narrative and classical editing, this is usually denoted by a dissolve.
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Flash-Foreward
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The editing moves to a future event, then returns to the present.
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Elliptical Editing
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When the editing presents an action so that it cnsumes less time on screen than it does in the story. Examples are Montage, Fast Motion, Benny Hill chase sequence. Also in transitions such as the Dissolve, Wipe or Fade it is assumed by the spectator that some time has been ommitted.
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Cutaway
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Another way of Elliptical Editing. A shot of another event elsewhere that will not last as long as the elided action.
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Overlapping Editing
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If the action from the end of one shot is partly repeated at the beginning ot the next.
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Continuity Editing
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Classical editing, editing for the story. Hide the edit, smooth flow over the shots.
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Axis of Action
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Also known as the Center Line or the 180 degree line. The place where the camera can be placed in Continuity editing, certain rules for crossing it. Ensures that relative positions in the frame remain constant, consistant eyelines, and consistent screen direction.
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Screen Direction
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The movement of a figure in the frame. A Person moving left to right on a street must be matched moving left to right in Continuity editing, otherwise it will disorient the spectator.
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Establishing shot
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A shot, generally at the beginning of a scene, showing the overall space of the diegesis.
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Shot/reverse shot pattern
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General pattern in Continuity editing. Show a shot, then show the reverse end of the axis from that shot. Used in dialog, Person 1 speaks, then show an over-the-shoulder/three-quarters shot of Person 2.
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Eyeline match
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Person 1 is looking at Person2. The eyelines of the people are consistent.
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Reestablishing shot
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A shot that reestablishes what was established in the Establishing shot. Pattern of editing: Establish, Breakdown(Series of Shot/reverse shot), Reestablish
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Match on Action
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A person begins standing in one shot, then finishes standing another shot.
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Cheat Cut
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A edit to hide a small movement by an actor in between the frames. Example: When a character iscloser to another in Shot B than Shot A.
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Point-Of-View Editing
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Editing uing the Kuleshev effect to make it seem as though we're looking through a character's eyes. Best Hitchcockian example: Rear Window.
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Montage Sequence
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What is thought of when the word "Montage" is used. Condenscing an extended period of time into a short screen time. Think eighties movies.
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Jump Cut
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When two shot sof the same subject are cut together but are not sufficiently different in camera distance and angle. A noticable jump on screen.
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30 degree rule
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Avoide Jump cuts. Every camera Positionbe varied by 30-60 degrees from the revious one.
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Nondiegetic Insert
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The filmmaker cuts to a metaphorical or symbolic shot that is not in the diegesis of the story.
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Expansion
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Making an event longer in screen duration than in story duration.
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Magazine
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The "Mouse Ears" of the camera. Available in 16mm 200 ft (Barely used), 16mm 400 ft. (Most used, extends single shot time to 11:08 min), 16mm 1200 ft. (33:24 min.), and 35mm 1200 ft. (13:20).
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Lathem Loops
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Slack in the film when going through the camera. Makes it so no break and fire.
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Sequence Shot
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Enitre Scene in single shot.
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Long Take
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Part of a scene, or many scens in a single shot. Continuous shot. With the exception of Hong Kong, Aisan directors are Long take directors.
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Roger Spottiswoode
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Creator of the Content Curve
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Content Curve
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The amount of time it takes for the spectator to take in everything on the screen.
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Interscene Editing
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Scene to Scene editing.
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First effect to be used in Interscene editing.
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A "Curtain" rising and falling, used a mask generally consisting of cloth.
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Swishpan
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The filmmaker knocks the camera after filming to create a blur effect into the next scene. Used in the Mission Impossible Television Sereies.
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V.I Pudovkin
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The first to write a textbook on film. Russians were the first to theorize editing.
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Montage
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Editing in French
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Thematic Montage
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Also known at the Intellectual Montage. The Editor inserts non-diegetic information to comment on actions.
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Intrascene Editing
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Editing within the scene.
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Dominant forms of film at the begining of Film History
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Actualities, "Moving Postcards", Gag films, trick films. Early directors were expected to make one film a week.
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Stipulations on crossing the 180 degree line
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Can cross if: Camera pans to other end while camera is running, set camera ON axis of action (with either a head-on shot or back on shot), or a cutaway.
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Discontinuity Editing
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Based off of the Jump Cut. Wants to draw attantion to itself, the anti-continuity editing. Unmotivated Repetition, Interscene not cued Intrascene scrambled, does not preserve space-time. Used in Experimental, Asian, African, Modernist, Rhetorical Documentary films and Music Videos.
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Maggie Booth
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First to be called an Editor
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D. W Griffith
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Used a male editor, important to the hisory of editing.
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Contrast Editing
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A type of Crosscutting, Forcing the audience to see what you're trying to say.
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Parallelism
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Drawing th audience in, also crosscutting.
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Siultinaety
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Outcome of one in the outcome of the other. Purely emotional and overdone. Used in action movies (Bomb ticking while hero runs away) and The Untouchables.
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Light MOtif
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Reintroducing the Narrative.
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Graphic Contrast
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Does not fit visually
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Shooting out of Continuity
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Shooting outside of script order. Scene 5 then scene 48 than scene 1, etc.
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False Eyeline Match
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Filming in two different plces with eyelines matching. A man looks out a window in Arizona and looks out (via POV shot) on a crying puppy in venice.
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Eisenstein
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Russian Filmmaker of October, directed for "Maimum Collision". The anti Eisenstein is Mikos Jansco
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Serial Repetition
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The whole action repeating, eample: The washer woman in Ballet Mechanique.
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Editing
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The joining of strips of film by glue, paste, or, now, digital.
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Short End
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LIttle pieces of film at begining of reel.
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