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| a cut in which an outgoing shot and its accompanying sound edit simultaneously, only to be replaced at the splice line by new picture with sound. The effect can destroy a story's otherwise smooth, fluid pace |
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| the point in edited video at which audience attention is transferred instantly from one image to the next |
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| a shot of some part of the peripheral action, such as a clock on the wall or football fans in a stadium, that can be used to divert the viewer's eye momentarily from the main action. |
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| editing together scenes of matched action at points in which the action has momentarily stopped. |
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| cutting out of a scene as the action progresses and continuing the action without interruption at the start of the incoming scene |
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| a scene optically fades to black on top of another scene, which optically fades from black to full exposure. The effect is a melting of one scene into the next. |
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| the editing of video and its attendant sound is the "conscious and deliberate guidance of viewer thoughts and associations." The editor strives both to create illusion and to reconstruct reality, as well as to guide viewers' emotional responses |
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| the point at which one shot is surrendered and a new shot begins |
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| the scene fades to black or fades from black to full exposure |
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| a subject moving in one screen direction is seen in the next shot to be moving in the opposite direction |
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| the representation of time in motion picture media as an elastic commodity. In television and film, time can be compressed or expanded far beyond the constraints of real time, which is inelastic. |
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| brief fragments of shots are cut to exact rhythm against a musical beat or sound |
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| action in the shot moves directly toward camera |
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| close-up, essential detail about some part of the main action |
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| an action that is seen to jump unnaturally into a new position on the screen |
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