Chapter 4: Editing

The Five Basic Types of Edits

1) Sequence Shot/Long Take
A single lengthy shot which contains no editing at all. (See Forest Gump clip).

2) Classical Cutting
A sequence of shots is determined by a scene's psychological and emotional emphasis rather than by physical 
action alone. For example, a cut to a close up of an actor's face as he arches an eyebrow can now reveal 
a multitude of subtle meaning, depending on the shot that preceded it.  (See Pulp Fiction clip).

3) Cutting to continuity
A type of editing in which the shots are arranged to preserve the fluidity of an action without showing all of it. It is 
an unobtrusive condensation of a continuous action. (Many examples exist -- see also pg 142-143 of Understanding Movies).

4) Montage/Associative Editing
The continuity is determined by the symbolic association of ideas between shots rather than any literal connections, 
where two contrasting clips are cut together as a way of getting a new meaning.  
(See the final shootout in The Wild Bunch and/or the Odessa Steps sequence in Battleship Potemkin).

5) Abstract Cutting
A purely formalistic style of editing, totally divorced from any recognizable subject matter. (See Rythmus 21clip)