In this post I want to focus on one of the most important techniques used in filmmaking, continuity editing. This common technique is widely used in both narrative dramas and documentaries, and to explore it, I will use the content and examples in the chapter 6 of <Film Art: An Introduction> written by David Bordwell and Kristin Thompson as a reference. This book is extremely helpful for beginners to understand how the filmmakers make films and basics terms and concepts in filmmaking.
As its name suggests, the continuity editing means to deliver the information of narrative smoothly, to make the shots logical and easy for audience to understand. In order to do that, filmmakers created The 180° system, which is also called axis of action. As shown below, to include the two characters’ actions, we just need three cameras on each side. For example, if a conversation happens here, we can switch between the three cameras and have all their expressions and actions.
This is the system how the continuity editing works. And many specific techniques are derived from this system. For example, as explained in the book, tactics like reverse-shot, eyeline match and match on action. These are the frequently used techniques even in modern cinema. Reverse- shot means cut from an end point of the central line to another, usually used when a person is waiting for another. Eyeline match is used when the character is looking at something off the screen, and next shot is a close up of the thing he or she is looking at. Match on action is also a common and powerful one, it means carrying a single movement across a cut, like the action of the person in this shot will continue, but from a different perspective in the next shot. This makes the transition really smooth that we often just follow the action and ignore the cut itself.
There are so many devices based on 180° system, however, not all of them strictly follow the rule. The system can be refined in various ways. For example, if there are more than two characters in the scene, the action of axis will become a circle around them, and cut between the most important characters. The less important characters may also be included in the shots of important characters, but usually to make audience focus on the important, the camera position, focus and close-up settings become significant here. Besides, there are some exceptions in continuity editing that not following the 180° system. For example, sometime, especially in the chasing scene in action films, the director may have to cross the 180° line. But to do this, it requires the physical layout of the scene must be well defined and not make audience confused. Like being analyzed in the book, John Ford’s Stagecoach gives us a good example of using this technique.
After all, directors also can make their own creative decisions while using this system. In our short film project this semester, I think I will practice some of the techniques introduced above, to further my understanding of continuity editing.