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Based on pictorial qualities of the two juxtaposed shots. Both qualities of mise en scene and cinematography contribute to the relationship.
Make a logical coherence between shots.
Graphic match, two successive shots joined due to their strong similarity of compositional elements.
Rhythmic relations are based on the time duration of juxtaposition shots
Battlesh Potemkin
Rhythm is more important than continuity
Based on movement beat or action pace
Camera does not follow 360 rule and fill with jump cuts.
Jump Cut editing, position of subject jumped in a discontinuous way, giving the appearance of time have passed and continuous time and space in the story world, deemphasising editing. Drawing attention to the nature of the film. (Breathless, FRENCH CAR scene)
Elliptical editing, figure change instantly against constant …show more content…
Master shot, shows the relationships of various character in the scene
Eyeline match, creates an impression that two person are looking at each other
Shot reserve shot, OTS shot of one character then another.
E.g clip from notorious, 180 degree cut, the main character wears a similar jacket. There is an eyeline match with the position of the character in the previous shot.
Match on action (Match cut), Traffic, the guy jumping with two different views at the same moment.
= Parallel editing builds suspense
Strangers on a Train ( Cross cutting between 2 characters, character walking opposite screen direction, looks like they are going to meet, establishing spatial relationship.)
Editing effects
Super imposition, more than one exposure, Neighbors, resentful father of the bride looks at the wedding ring and immediately associates in his mind with a five and dime store. The subjective shot gives us a clear indication of his opinion of his soon to be son-in-law.
- Kuleshov effect, mental tendency of viewers attempt to figure out how film shots fit together can create
Make a logical coherence between shots.
Graphic match, two successive shots joined due to their strong similarity of compositional elements.
Rhythmic relations are based on the time duration of juxtaposition shots
Battlesh Potemkin
Rhythm is more important than continuity
Based on movement beat or action pace
Camera does not follow 360 rule and fill with jump cuts.
Jump Cut editing, position of subject jumped in a discontinuous way, giving the appearance of time have passed and continuous time and space in the story world, deemphasising editing. Drawing attention to the nature of the film. (Breathless, FRENCH CAR scene)
Elliptical editing, figure change instantly against constant …show more content…
Master shot, shows the relationships of various character in the scene
Eyeline match, creates an impression that two person are looking at each other
Shot reserve shot, OTS shot of one character then another.
E.g clip from notorious, 180 degree cut, the main character wears a similar jacket. There is an eyeline match with the position of the character in the previous shot.
Match on action (Match cut), Traffic, the guy jumping with two different views at the same moment.
= Parallel editing builds suspense
Strangers on a Train ( Cross cutting between 2 characters, character walking opposite screen direction, looks like they are going to meet, establishing spatial relationship.)
Editing effects
Super imposition, more than one exposure, Neighbors, resentful father of the bride looks at the wedding ring and immediately associates in his mind with a five and dime store. The subjective shot gives us a clear indication of his opinion of his soon to be son-in-law.
- Kuleshov effect, mental tendency of viewers attempt to figure out how film shots fit together can create