editing

Question 1

Montage (american)

Answer 1

When filmmakers string together individual shots to create a chronological and time-manipulated (both sped-up and slowed-down montages exist!) series.

Question 1

Montage (french)

Answer 1

since ‘montage’ originates from the French word ‘monter’, the word simply means editing. Those dang Frenchies.

Question 1

Weird Soviet Montage

Answer 1

dynamic editing that creates a revolutionary and fairly enlightening experience for the audience as the filmmakers explore oppositional conflicts. This is usually not the montage people are talking about when ‘montage’ is said.

Question 1

Continuity editing

Answer 1

This is enforced by Classical Hollywood. In this type of editing, the goal is to get the audience to forget that they are watching a film and not real life. This is achieved through spatial and temporal continuity. (While this is undoubtedly an amazing art form, it can sometimes be limiting to some directors who want to explore the unusual.)

Question 1

Narrative film

Answer 1

Any film that tells a story

Question 2

Matching on action

Answer 2

this is very similar to cutting on action. Both involve when the filmmakers continue a physical action from one cut to another. Ie, a piece of food from a food fight thrown in one shot and landing on someone’s face in the next shot.

Question 3

Eye-Line Matching

Answer 3

when the gazes of film characters are consistent between shot to shot. For example, when characters are sizing each other up in a conversation (think, Silence of the Lambs), we can infer, just by the direction of their gazes, that they are looking at each other.

Question 3

Glance-Object Match

Answer 3

when a character is shown glancing (or otherwise looking) in a direction. The next object that we see could be reasonably inferred to be the object that was being glanced (or otherwise looked) at.

Question 4

Graphic Matching

Answer 4

connecting different shots and subjects through the usage of composition. For example, in a story with parallel arcs between a boy and a dog, when the boy drops his homework off the table, we could cut to a different shot of the dog dropping his toy. If they are framed similarly, the audience could draw a connection between the boy, dog, homework, and toy.

Question 4

The 180 System

Answer 4

ONLY THE MOST OPTIMAL WAY TO CREATE ALTERNATING SHOTS BETWEEN TWO CHARACTERS IN DIALOGUE! AND YOU CAN EVEN GET ALL THE BEST ANGLES IN ONE TAKE IF ALL GOES WELL! IT’S BEAUTIFUL. I LOVE IT.

Question 5

Shot/Reverse-Shot Pattern

Answer 5

THIS is the wonderful shot pattern that the system above creates EFFORTLESSLY. This is when you alternate between the two characters in the line of vision of the cameras. The other camera USUALLY will be placed at the ‘reverse angle’ of the shot. This is USUALLY done to create continuity through graphic matching and eye line matching. I say USUALLY so much because sometimes the shots NEED to be DIFFERENT in order to portray certain dynamics in the relationships. (All my filmmaking life, I’ve been calling them alternate shots. I think I learned that from a bad YouTube video. Oops.)

Question 6

Kuleshov experiment

Answer 6

When audience members assume that, after they see a shot of something, the next shot of a reaction is DUE to the first shot. Even if the two shots aren’t connected in real life, the audience will write in the connection based off of glance matching.

Question 7

Invisible Editing

Answer 7

a specific type of continuity editing where you PHYSICALLY cannot see the difference between two shots, hence making it invisible.