The technique of film editing (1958)

Record Details:

Title:
The technique of film editing
Date:
1958
Publisher:
London : Focal Press
Volume:
The technique of film editing
Leaf #:
000222
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
January 25, 2024
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Figure I. The three main angles : close-up, medium shot and long shot. How to cut from one to another is discussed in the text. action at the moment of rest. The impression created is that two distinct phases of the movement are seen in two distinct ways : the flow of movement is not interrupted until it has of its own accord momentarily come to a stop. An alternative moment of rest occurs when the actor is just about to start his movement, and this provides a third and possibly the best cutting point. Just before the actor starts his forward movement, his facial expression — a glance downward, possibly — will register his intention. If the cut is made precisely at this point — i.e., just before the hand begins to move — it will be smooth, because it will coincide with the moment of change from rest to activity. Before the cut, the actor will be sitting still : then, as he registers his intention of moving his hand, the spectator will anticipate what is about to happen and will be ready to see the effect of the resolution in another shot. This last timing of the cut is particularly apt in the case where the transition is to be from close-up to mid-shot. At the moment the actor begins his forward movement, the spectator will want to see the effect and will therefore welcome the cut from close to 218