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| basic creative force of cinema, is the process by which the editor combines and coordinates individual shots into a cinematic whole |
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| joining togeteher of two shots |
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| the interruption of chronological plot time with a shot or series of shots that show an event that has happened earlier in the story |
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| the interruption of present action by a shot or series of shots that shows images from the plots future |
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| an omission between one thing and another, manipulation of time through editing |
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| seamless or invisible editing because it flows so smoothly that we are not distracted by the cuts |
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| editing calls attention to itself |
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| basic building block of film editing |
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| controlling the presentation of time in a film |
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| editing determines the ______of a shot |
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| an editor can control the ______(or beat)of a film |
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| the point which we have absorbed all we need to know |
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| These visual and aural images establish a slow deliberate pattern of |
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| duration, sound and movement. |
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sometimes called an establishing shot
more of a shot type than an editing shot
important to continuity editing |
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often referred to as the master shot
editor can repeat it later in the film to remind the audience of the location |
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| make additional photography |
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| the direction of a figures or objects movement on the screen |
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imaginary line
an imaginary horizontal line between the main characters being photographed determines where the camera should be placed to preserve screen direction and thus one aspect of continuity |
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| one in which the angle of shooting is opposite to that in a preceding shot or to dolly or zoom out to include more people or actions |
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| one of the most common and familiar of all editing patterns is a technique in which the camera and editor switches between shots of different characters, usually in a conversation or other interaction |
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| shows us the continuation of a characters or objects motion through space without actually showing us the entire action |
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| the similarity between shots A and B is in the shape and form of what we see |
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| Joins shot A, a point of view of a person looking off screen in one direction, and shot B the person or object that is the object of that gaze |
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| cutting together of two or more lines of action that occur simultaneously at different locations or that occur at different times |
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| editing that cuts between two or more actions occurring at the same time, and usually in the same place |
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| editing two or more actions taking place at the same time but with the difference that it creates the effect of a single scene rather than of two distinct actions |
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used to cut from shot A, a point of view shot with the character looking toward something offscreen, directly to shot B , using a match on action shot or an eye line match shot of what the character is actually looking at.
subjective shots that show a scene exactly the way the character sees it |
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| presents an instantaneous advance in the action, a sudden perhaps illogical often disorientting ellipsis between two shots caused by the absence of a portion of the film that would have provided continuity |
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| transitional devices that allow a scene to open or close slowly |
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| lap dissolve, transitional device in which shot B, superimposed, gradually appears over shot A, and begins to replace it midway through the process |
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| transitional device often indicating a change of time place, or location, in which shot B wipes across shot A vertically, horizontally, or diagonally to replace it. |
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| everything is blacked out except for what is seen through a keyhole, telescope, crack in the wall, or binoculars, depending on the actual shape of the iris or the point of view with which the viewer is expected to identify |
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| named after the iris diaphragm which controls the amount of light passing through a camera lens, in which the wipe is usually a circle |
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| still image within a movie created by repetitive printing in the laboratory of the same frame so that it can be seen without movement for whatever length of time the filmmaker desires |
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| has been mainstream since 1913, produces an effect that is similar to parallel editing in its ability to tell two or more stories at the same cinematic time, whether or not they are actually happening at the same time or even in the same place |
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