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This week’s lecture was about editing.

Jeremy Bowtell, the guest lecturer, used Scorsese’s 1995 film Casino as an example of the power of editing as it demonstrates the way in which editing alone may be used to tell a narrative.

I decided to showcase films which I believe have exemplary editing. Notably, the majority of those I came up with follow Edward Dmytryk’s advice to always ‘cut long rather than short,’ as many of these films are so impactful precisely because of their long shots and lack of cuts. Filming in this way often aids in building suspense and commanding audience attention, breaking with conventional filmic technique, as over the years films have evolved to include less and less time between shots.

1. The Tribe (2014)

   Due to the near silent nature of this film (with neither speech nor music), the Tribe is a clear example of the way in which editing is used to enhance a film’s story, and engage and influence the viewer. In silent films, editing becomes a crucial feature in narrative storytelling and ensuring that emotional connections are created between the film and it’s audience.

2. Birdman (2014)

   This film was shot in long continuous sequences, reflecting that of theatre scenes. The result is an atmosphere of suspense, leaving the viewer constantly on edge. A great example of the emotive value of editing.

3.  Oldboy (2003)
   
   This film, is a particularly good example of rhythm within film, created through editing. In the sample below, the scene begins and ends with more frequent close-ups and cuts between characters, however, breaking with conventional fight scenes, has one continuous shot throughout the entirety of altercation. Clearly demonstrated towards the end of the scene, the shots linger just long enough to make a lasting impression on the audience.

 

 

 

To distill the editing advice given:

Jeremy Bowtell (guest lecturer)

• shoot well. Do not rely on post-production.
• editing is juxtaposition: combining parts to create new meaning.
• in essence, film must be ‘tendentious selection and juxtaposition’ – Eisenstein (father of montage)
• editing is used to subtly steer the audience in a particular direction, whilst still allowing them to form their own arguments.

Edward Dmytryk (film noir director – Crossfire)

• never make a cut without a positive reason
• cut long rather than short – motivated rather than jarring
• keep content fresh, make it original
• substance 1st, form 2nd

Walter Murch (film editor & sound designer – Apocalypse Now)

• emotion: cut give audience correct emotive connection
• story: cut must advance and advantage the story
• rhythm: cut makes film rhythmically interesting
• spacial diegesis: encompassing eye-trance, 2-dimensional place and 3-dimensional space