Research statement/question:
My investigation was based around the match cut and how and why it is used in cinema.
Reflection:
After studying various approaches to coverage in the beginning of this semester of ‘The Scene”, I was interested in particularly creative or non-conventional ways of covering a scene using (seemingly) pre-planned editing techniques. Initially, I was inspired by the works of Edgar Wright with his signature ‘quick cut’ montages (linked below). I enjoyed how he used unique and innovative strategies to present space, time and character in a scene as opposed to conventional styles. I planned to investigate a range of techniques that have to do with the compression (or lengthening) of time and narrative information, such as the split screen, match cut, wipe by, or jump cut. I set out to explore how these styles would enhance the entertainment value or otherwise affect a scene.
In the beginning, I planned to explore one technique per week and be able to summarise a range of approaches by the end of the semester – however, inevitably this plan was on too large of a scale to tackle. After my first exercise to do with match cutting, I realised I had only barely covered one aspect of the cut. There was so much more to investigate and focus on with each technique, hence I decided to narrow my inquiry down to focus entirely on the match cut and the different ways in which it is used. After some research, I summarised that there were four types of match cuts: the graphic/visual, narrative/metaphorical, the action, or the audio match cut.
It seemed that each of these types of match cut could be used for different purposes and in different contexts. There are multiple options for why they could be used – is it used just for aesthetics to enhance entertainment value? As a creative scene transition? Or do they say something more about the scene? For example, the action cut can be used to establish temporal continuity; whereas a metaphorical match can be used to suggest a thematic connection between two elements of a narrative.
For each category, I set out to create my own practical exercises that would use the match cut to serve different purposes in the scene. I hoped that through the process of planning and shooting my own works, I would be able to develop a better understanding of how and why the match cut can be implemented in film and TV.
- Exercise 1: Focus on graphic
For this first exercise, I wanted to focus purely on the visual side of things, creating an exercise where the match cut was the driving source of engagement. I wanted to practice the basic editing and compositional planning skills needed for creating smooth match cuts.
- Exercise 2: Focus on Action
In this exercise, I explored the effect of cutting on action and the notion of keeping temporal continuity. A particularly significant realisation happened after completing this exercise – although my intention was to focus on establishing continuity with different shots as opposed to the many jump cuts we see these days, Robin’s reaction was that though focusing so much on the editing, I had subconsciously created smoother cuts in other places that I hadn’t noticed. Although clearly rough, I had created a clip that had an particular sense of flow to it.
- Exercise 3: Focus on ideas
Another small test I did was to try and copy the style of match cut from this clip from Lawrence of Arabia. I had planned on heading into the direction of producing an abstract style experiment, but moved into something different after suggestion by Robin.
- Exercise 4: Exploring deeper
Robin suggested I do more exploration into the skill I had picked up from the action exercise, and attempt putting the match cut into more of a narrative setting by shooting a more polished scene. Hence, my final exercise was based on the idea of weaving the concept of match cuts into normal scenes as an alternative to conventional coverage practices. I wouldn’t use match cuts in the exact matching visual sense, but instead use the concept of it to create interesting cuts and scene transitions. This way, I was able to implement the match cut into practical everyday scene situations instead of focusing on the limited option of creating works whose entertainment value are solely based on the match cut.
I felt that this exercise was useful in giving me a ‘full circle’ sense, as I started by focusing on the action of the cut itself but could now incorporate it into more meaningful and practical situations. This will also allow me to implement what I’ve learnt into future works.
Overall, through my investigation I was able to develop not only a better understanding of the match cut, but also an increased sensitivity towards editing when thinking about how I can present time and space in a scene. After this I will be able to take away the mentality of thinking about alternative approaches to coverage, as well as more interesting ways of using special techniques like match cuts.
2 minute summary:
30 second screener:
