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).
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
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
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)