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process of cutting. In so far as he accomplishes particular changes of view which are not comparable to outside experience, he exercises the right of selection which we accept from an artist.
Constructing a lucid continuity : smoothness
Before the final continuity of a sequence is arrived at, the editor normally takes his material through two distinct stages. First, he assembles a rough cut in which the order of shots makes film sense and the transitions are mechanically smooth. Second, he approaches the material again to refine the continuity of the rough cut in such a way that it becomes dramatically as well as physically appropriate. Some writers have divided these two functions, calling the first cutting and the second editing, but the terms are, in common usage, applied interchangeably so that the distinction is likely to confuse rather than to clarify the issue. Nevertheless, we will find it convenient to consider the two phases of the work separately because they present somewhat different problems.
The main purpose of assembling a rough cut is to work out a continuity which will be understandable and smooth. We have used the word smooth as applied to a cut several times and it is now time to say a little more about it. Making a smooth cut means joining two shots in such a way that the transition does not create a noticeable jerk and the spectator's illusion of seeing a continuous piece of action is not interrupted. If, to take an absurdly simple example, we cut from a long shot of an actor standing by a mantelpiece straight to a medium shot of the same actor reclining in an arm-chair, the transition will obviously be unacceptable : a spectator seeing it will immediately become aware that he is not viewing a continuous piece of action and the illusion will be broken.
This simple instance shows that the process of smooth cutting is subject to certain mechanical principles. These we shall attempt to state below. But as will be seen later, all the " rules " of smooth cutting are subject to the much wider discipline of the dramatic, as opposed to the mechanical demands of the continuity, so that they are not to be taken as binding or universally valid. v
Matching Consecutive Actions
The most elementary requirement of a smooth continuity is that the actions of two consecutive shots of a single scene should match. While the film is still on the floor, the director — aided by
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