Chapter 6 - Dr. Lerner 270 - Film Art: an Introduction PDF

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Summary

Pages 216-The Relation of Shot to Shot: EditingMost common join is a cut - One shot from anotherFade out- gradually darkens the end of shot to black Fade in- lightens it from black Dissolve- briefly superimposes the end of shot A and the beginning of shot B Wipe- Shot B replaces A but they line movi...

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Pages 216-262 The Relation of Shot to Shot: Editing Most common join is a cut - One shot from another Fade out- gradually darkens the end of shot to black Fade in- lightens it from black Dissolve- briefly superimposes the end of shot A and the beginning of shot B Wipe- Shot B replaces A but they line moving across screen Graphic Match- linking shots by graphic similarities Flash frames- in a lot of action movies; transitions btwn segments or signal flashbacks or subjective sequences Flashforwards- reordering of story → present to future Elliptical Editing- an action in such a way that it consumes less time on the screen than it does in the story Overlapping editing- action is partly repeated Continuity Editing- dominates film industry rn; combining shots from a single Axis of action- builds space around the center line Screen direction- where the actors/action is moving Establishing shot- new shot of a new scene Shot/Reverse shot-characters looking at e/o Eyeline match- someone is looking at something offscreen and other is being looked at Match on Action- carrying single movement action Cheat cut- In the continuity editing system a cut which presents continuous time from shot to shot but which mismatches the positions of figures or objects. Crosscutting- one sequence with another Montage Sequence- brief portions of a process, informative titles, stereotyped images, newsreel footage, newspaper headlines and the like can be joined by dissolves and music to create a quick, regular rhythm and to compress a lengthy series of actions into a few moments Jump cut- cut together two shots of the same subject, if the shots differ only slightly in angle or composition, there will be noticeable jump on screen Non-diegetic insert- filmmaker cuts from the scene to a metaphorical or symbolic shot doesn’t belong to the space and time of the narrative...