Styles of editing

Continuity editing

Hollywood narrative
style
Analytic editing
Invisible shot
transitions
Shots subordinated
to unity of segment
Implies a passive
spectator

Discontinuity editing

Modernist and
experimental
Montage style
Foregrounds shot
transitions
Stresses formal
integrity of each shot
Implies active spectator

Continuity editing

Hollywood, narrative style.

Analytic editing.
Invisible shot transitions.
Shots subordinated to unity of segment.
Implies a passive spectator.

Analytic editing in Sabotage

Discontinuity editing

Modernist and experimental films.

Montage style.
Foregrounds shot transitions.
Stresses formal integrity of each shot.
Implies active spectator.

The aesthetics of editing relies on

four areas of choice and control

Graphic relations

Rhythmic relations

Spatial relations

Temporal relations

Rhythmic relations between shots

Metrical montage

Graphic relations between shots

Line

Shape

Depth

Angle

Tonal contrast

Speed and direction of movement

Graphic relations between shots

Graphic relations between shots

Spatial relations between shots

The Kuleshov effect

Creative geography

Temporal relations between shots

Jumpcuts

Overlapping edits

Flashbacks and flashforwards

Sergei Eisenstein (1898-1948)

To precisely calculate he
design of the work of art
and its effects on the
spectator.
No practice without
theory.
No practice or theory of
art separate from the
social command.

The ideogram
and the montage cell

Eisensteins
theory of spectatorship

To direct forcefully the emotions and thought

processes of the spectator as a series of shocks.

Montage as a bridge between

Pavlovs reflexology: stimulus and response.

Marxist dialectic: out of conflict comes a higher unity, a
synthetic idea in the mind of the spectator.
Laws of aesthetic form;
Laws of mind.

Dialectics:

From conflict or collision to a higher unity.

The dialectic as a leap from quantity (aesthetic form) to
quality (transformation of consciousness in the spectator).

Vertical montage
1.

Metric montage
a)
b)

2.

Rhythmic montage
a)
b)

3.
4.
5.

Physiological: photograms resolving into apparent motion

Shot length and pacing
Artificially produced movement (logical and alogical)
Conflict between frames and syncopation of movement
within the frame

Tonal montage
Associational or overtonal montage
Intellectual montage

Vertical montage
METRIC
----------------------RHYTHMIC
----------------------TONAL
----------------------OVERTONAL
----------------------INTELLECTUAL

apparent motion
pacing
---------------------------------------------------artificial movement (logical)
(alogical)
syncopation
---------------------------------------------------organization of dominant
---------------------------------------------------emotional dynamization through
chains of psychological associations
---------------------------------------------------conceptual; logical deduction

Metric and rhythmic montage

Tonal and overtonal montage

Intellectual montage

Dynamic structure and

ecstatic composition

The Odessa steps

Chaotic movement :
Masses
:
Close-ups
:
Movement up
:

rhythmic marching
lines
long shots
movement down

The stone lions leap