Emb422 Advanced Digital Video Editing -- Chapter 1 Flashcards

Front 1

true or false? intuition is the same thing as instinct.

Back 1

false

Front 2

people are born with _____, but _____ is something we develop over time, through experience

Back 2

instincts; intuition

Front 3

_____ is an essential support to intuition

Back 3

explicit knowledge

Front 4

the more that is _____, the more readily accessible intuitive responses will be

Back 4

explicitly known

Front 5

The six types of thinking that are at work when people say "intuition" (EIJSCR)

Back 5

(1.) expertise, (2.) implicit learning, (3.) judgment, (4.) sensitivity, (5.) creativity, (6.) rumination

Front 6

the unreflective execution of intricate skilled performance

Back 6

expertise

Front 7

an example of this is when a professional editor uses their gear and doesn't have to think about which button to push in order to do an operation

Back 7

expertise

Front 8

a matter of knowing your gear of choice so expertly that its operation doesn't require conscious thought

Back 8

expertise

Front 9

the acquisition of expertise by non-conscious or non-conceptual means

Back 9

implicit learning

Front 10

a lot of _____ about editing is acquired by watching films; there are conventions that show up often, and even though an editor may not know the names of these conventions or techniques, they have seen them enough to know what they are without ever having consciously learned them

Back 10

implicit learning

Front 11

making accurate decisions and categorizations without, at the time, being able to justify them

Back 11

judgment

Front 12

what is at work whenever an editor makes an adjustment to a cut and it works better; implies making good decisions without going through the process of justifying them

Back 12

judgment

Front 13

a heightened attentiveness, both conscious and non-conscious, to details of a situation

Back 13

sensitivity

Front 14

an editor has _____ or heightened attentiveness to movement and emotion in the material; developing this is a matter of learning to see the potential of movements and moments before they are shaped

Back 14

sensitivity

Front 15

developing _____ is a matter of learning to see the potential of movements and moments before they are shaped

Back 15

sensitivity

Front 16

the use of incubation and reverie to enhance problem solving

Back 16

creativity

Front 17

editing _____ is the lateral association of images or sounds to solve the problem at hand, which is shaping the film and its rhythms

Back 17

creativity

Front 18

the process of "chewing the cud" of experience in order to extract its meanings and its implications

Back 18

rumination

Front 19

the kind of thinking that happens when you're thinking about something else, and you have immersed yourself so deeply in your material that it inhabits a part of your brain even when you're not actually looking at it or working on it

Back 19

rumination

Front 20

true or false? intuition is something you just have

Back 20

false

Front 21

true or false? intuition isn't something you just have

Back 21

true

Front 22

_____ is something that can be developed and enhanced, and even acquired through practical and theoretical experience and education

Back 22

intuition

Front 23

an editor learns where and when to cut to make rhythm from what two sources?

Back 23

(1.) the rhythms of the world that are experienced by an editor, and (2.) the rhythms of the body that experiences them

Front 24

an editor learns where and when to cut to make rhythm from these two sources: (1.) the rhythms of the _____ and (2.) the rhythms of the _____

Back 24

world; body

Front 25

the world's external rhythms are a primary source of knowledge about rhythm in film, because they

Back 25

are the rhythms that frame our existence, expectations, and knowledge of the movement of time and energy in life

Front 26

if we actively see and hear the world's rhythms, what we are actually seeing, hearing, and feeling is _____

Back 26

movement

Front 27

as living beings, editors inherently have some knowledge of rhythms of the world, but it is also possible for them to develop and enhance their rhythmic intuition by engaging an _____ awareness of rhythms of the world through the perception of movement of energy and time

Back 27

active

Front 28

the _____, or raw material of a given film project, are the immediate source of information that feeds the editor's rhythmic intuition about a particular project and its rhythmical world

Back 28

rushes

Front 29

the editor finds specific cues to rhythmic possibilities in the uncut material in the _____ inherent in the recorded images and sounds; may within the frame, around the frame, etc. but also of events or emotions

Back 29

movement

Front 30

an editor who is shaping a rhythm in the editing process directs their attention to the shaping of _____ in the images and sound, because _____ is the visible and audible manifestation of energy and time

Back 30

movement

Front 31

feeling ~with~ the movement, a sensitivity developed by perceiving and being in movement

Back 31

kinesthetic empathy

Front 32

the idea that our physical response to movement is based on direct or indirect experience of movement, the history of our individual bodies in movement, and physically innate reflexes connected to protection from movement or pleasure in movement

Back 32

kinesthetic empathy

Front 33

the concept that certain nerve cells are activated both during an activity and while observing another person performing the activity

Back 33

mirror neurons

Front 34

neurologically speaking, when we physically participate in the movement of people we see, even if we are sitting still

Back 34

mirror neurons

Front 35

true or false? the editor's own internal rhythms must come into play to shape rhythm through an editing process

Back 35

true

Front 36

true or false? as editors begin to do more than neurologically imitate existing rhythms, they draw on rhythms inside themselves, as well as those things captured in the rushes, to create the film's rhythms

Back 36

true

Front 37

the intuition about what feels right, and what doesn't, comes, in part, from _____ doing their work of interpreting intentions in movement

Back 37

mirror neurons

Front 38

true or false? the rhythms of an editor's body act on the material of the film's rushes in a very direct, physical way

Back 38

true

Front 39

the "three knowledges" an editor works with

Back 39

(1.) knowledge of the world, (2.) knowledge of the body, (3.) knowledge of the craft

Front 40

as editors continue to refine their cuts, they use their mirror neurons and kinesthetic empathy to relay the _____ rhythms, which they perceive in the developing edits, through their _____ rhythms, to create the rhythm of the film

Back 40

external; internal

Front 41

a question that an editor can employ consciously as a strategy for giving rhythmic intuition a structure to work within is

Back 41

"to what rhythm am I comparing the rhythm of this edit?"

Front 42

a mode of thinking that includes creativity, expert judgment, sensitivity, and "unreflective execution of intricate skilled performance"

Back 42

intuition

Front 43

specific learning supports that intuition about the creation of rhythms in film editing is acquired through (1.) living in a rhythmic _____ and (2.) in a rhythmic _____

Back 43

body; universe

Front 44

specific learning supports that _____ about the creation of rhythms in film editing is acquired through (1.) living in a rhythmic body and (2.) in a rhythmic universe

Back 44

intuition

Front 45

true or false? we cannot sensitize ourselves to the rhythms of the world and of the body to expand and enhance our intuitions about cutting rhythms

Back 45

false

Front 46

true or false? we can sensitize ourselves to the rhythms of the world and of the body to expand and enhance our intuitions about cutting rhythms

Back 46

true