07.03.2016

“Editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the ‘psychological guidance’ of the spectator.” – Vsevolod Pudovkin

As discussed in our second Media lectorial ~ever~, editing is not simply placing one piece of footage next to another, but an entirely intentional and purposeful connection between two frames that, individually, may or may not mean anything. Through editing, however, these scenes become meaningful.

This definition of editing is evident in Dziga Vertov’s ‘A Man with a Movie Camera’. Vertov combines a number of camera shots that depict the everyday phenomenons in the modern city of Russia (during the 1920’s). Though the individual frames may not contain any meaning alone, alongside every other shot of Vertov’s these scenes create their own meaning, which may simply be to convey the demeanor of the Soviet Union at the time.

While this example is simplistic and ingenious for it’s time, it also provides a myriad of possibility for what editing could achieve; if the manipulation of meaningless shots through editing can create meaning, how can it change camera shots and footage already contain so much meaning? And how can editing in itself be used as a meaningful tool, ie long transitions as opposed to short transitions, superimposition of footage etc, and can an editing technique have a universal meaning?