Emf 275 Final

Front 1

Panoramic Frontal Tableau

Back 1

-Created by Thomas Edison
-Wide shot, from the front

Front 2

Parallel Editing

Back 2

-Vsevolod Pudovkin
-Provokes emotional connection
-Sympathy

Front 3

Montage

Back 3

-Linkage (Pudovkin)
-Radicalized Hollywood Classical Editing
-Consecutive sequences
-Shots perceived sequentially
-Connects images

Front 4

Collision/Juxtaposition (Eisenstein)

Back 4

-Collisions of shots
-creates meaning not contained in the shots
-Compared montage to Japanese writing
-Graphically symbolic

Front 5

5 types of Associative Montage

Back 5

-Metric
-Rhythmic
-Tonal
-Synthesis of M,R,T
-Intellectual

Front 6

Continuity Editing

Back 6

Hollywood - Narrative editing
Classical - Temporal and spatial continuity
Invisible

Front 7

Edit

Back 7

Transition between shots-
-Cut
-Fade
-Dissolve
-Wipe

Front 8

Spatial Aspects

Back 8

Establishing shot
Camera-Subject Variation
-180 Degree Rule/Camera Direction
-Eyeline Match
-Match Position Cut
-Cutaway
-Insert/Cut-In

Front 9

Illusions of Continuity

Back 9

-Editing = manipulation of time/space
-Cuts disrupt time & space
-Cuts try to synthesize T & S

Front 10

Douglass & Harnden Basic Techniques

Back 10

-Match Cut
-Cutaways & Cross-cutting
-Cut-ins/Inserts
-Off-screen/On-screen action

Front 11

Mise En Scene/Long-Duration Take

Back 11

What goes into the shot/scene-
-Composition
-Lighting
-Set/Props
-Costume/Make-up
-Acting/Blocking

Front 12

Long-Duration Take

Back 12

-When a scene is recorded in one continuous shot
-extended Panoramic Frontal Tableau

Front 13

Mise En Scene + Long Duration Take

Back 13

The Sequence Shot-
To maintain and respect spatial & temporal integrity

Front 14

Composition in Depth

Back 14

-Frequent panning shots and entrances
-Long take tracking shot
-Greater realism

Front 15

Deep Focus

Back 15

-Uses large depth of field
-Foreground, middleground, and background all in focus
-Separate planes are all in use

Front 16

Choreography

Back 16

Emphasizing choreographed movement through mise en scene

Front 17

Intrasequence cutting

Back 17

-Simple level = linking sequence shots
-Complex level - creating visual rhythm
-Linking of long takes to emphasize rhythym and movement within a long duration cut

Front 18

Acting

Back 18

-How shots were assembled, not taken
-Actors benefited from montage and other editing techniques

Front 19

Visual Elements

Back 19

-Appearances
-Gestures
-Facial Expressions

Front 20

Aural Elements

Back 20

-Voice
-Accent
-Inflection

Front 21

Discontinuous

Back 21

-Continuity of Play (linear, same performer)
-Discontinuity of Film (out of sequence, stunt doubles)

Front 22

Fragmentation

Back 22

-Wholeness of Stage (mise en scene)
-Fragmentation of Editing (compositional framing)
-Kuleshov (variety of shots weaved together)

Front 23

Behaving

Back 23

-Performance of Theater (Stylized approaches, becoming someone else)
-Behavior of scene (Stanislavsky Method, Being oneself)

Front 24

5 Goals of Continuity Editing

Back 24

-Seamless Invisibility
-Narrative Clarity
-Character Identification
-Verisimilitude
-Optimum Vantage Point

Front 25

Hollywood's Formal Paradigm

Back 25

-Hollywood's Classical Period (1930-1945)
-Narrative over style
---Preserves illusion of reality
---Voyeurism

Front 26

Omniscient Viewpoint

Back 26

-All knowing
-Enhances sense of truthfulness

Front 27

Aumont Comparing Bazin vs. Eisenstein

Back 27

-Bazin--illusion of reality, long duration takes, centrifugal
-Eisenstein--Montage, collisions of shots, manipulation, centripetal

Front 28

Nouvelle Vague

Back 28

Radial, Revolutionary, Modern, Break from HCE & Hollywood Formal Paradigm

Front 29

5 Goals of Continuity Editing

Back 29

-Match Cut
-S/RS structure
-Close Up
-POV
-Exits/Entrances

Front 30

Jump Cut

Back 30

-Expose the editing
-Ignores the conventions of continuity

Front 31

Reflexivity

Back 31

-Hallmark of Modernism
-Makes the viewer aware of the filmmaking process

Front 32

Banality in the everyday

Back 32

Unoriginality amongst the everyday life

Front 33

Les Politiques Des Auteurs

Back 33

-"Policy of authors"
-Director as the sole creative force
-Film reflects the director's personal view

Front 34

American New Wave

Back 34

-Hollywood's Americanized version of Nouvelle Vague
-Clear Narrative
-Character Identification
-Borrowed elements from Nouvelle Vague
-Post Classical Hollywood

Front 35

Dede Allen

Back 35

-Bonnie & Clyde, Dog Day Afternoon
-Shock cutting
-extreme contrasts
---jagged, menacing, syncopated rhythm

Front 36

Sound & Verisimilitude

Back 36

-Natural
-Appropriate
-Real
-Believable
-Unnoticed

Front 37

Types of sound

Back 37

-Dialogue (Speech)
-Music
-Effects (Noise)

Front 38

Sound's Functions

Back 38

-Engages another sense mode
-Provides information
-Shapes an image
-Points/focus attention
-Redefines silence

Front 39

Sound Paradox

Back 39

-Image is primary
-Sound is secondary
-Sound is more important
-Sound sells the image

Front 40

Fidelity

Back 40

-How honest or faithful a sound is to its source
-Greater distance = lower volume

Front 41

Sound Editing/Mixing

Back 41

ADR - Replacing human sound
Foley - Creating/replacing object sounds

Front 42

Diegetic

Back 42

Inside the story space

Front 43

On-screen

Back 43

-voices of characters
-Sounds from objects
-music from within the story space

Front 44

Off-screen

Back 44

Takes places in the story but off screen

Front 45

Non-diegetic

Back 45

-Sound source is not in the story space
-characters can't hear it
-soundtrack music
-Voice over narration

Front 46

Dancyger's Four Approaches to Action Editing

Back 46

-Identification
-Excitation
-Conflict
-Intensification

Front 47

Disjunctive Editing

Back 47

-Montage
-Nouvelle Vague
-American New Wave
-Fragmentation Editing

Front 48

5 stylistic choices of Disjunctive Editing

Back 48

-Spontaneity/Energy
-Randomness
-Discontinuity
-Emotion/Mood
-Graphic/Text

Front 49

8 Techniques used in Disjunctive Editing

Back 49

-Music
-Compression
-Form/Style over Content
-Jump Cutting
-Manipulation of Time/Space
-Emphasis on CUs
-Foreground over Background
-Reflexivity

Front 50

Reduction of Visual Context

Back 50

Moulin Rouge

Front 51

Disjunctive Editing Influences

Back 51

-Montage (Any Given Sunday)
-Montage vs. Collage (Requiem For a Dream)
-Hollywood Collage (Meet John Doe)
---Slavko Vorkapich
-Hollywood Montage = Collage (Driven)
-Soviety Montage = Montage
-Nouvelle Vague (The Limey)
-Post-Classical Hollywood (Babel)
-Fragmentation Editing (Natural Born Killers)
-Split Screen (24)
-Internet, Comic Books, Video Games (Juno)

Front 52

New School Editing

Back 52

-Emotional Continuity (Feeling State)
---Can be sharp or deep, developmental or dreamlike
---Disconnected sense in a narrative
---Popular in dream sequences

Front 53

Walter Murch

Back 53

-"The Most With The Least"
-Emotion and story are most important
-Avoid overcutting

Front 54

Non-Linear Narrative

Back 54

-Random
-Multiple Characters
-Intuitive
-No Resolution
-Unpredictable

Front 55

Philosophy of Non-Linearity

Back 55

-Unpredictable Narrative
-Opposites and counterpoint as structuring device
-Less identification with characters
-Feeling over action