The technique of film editing (1958)

Page scan 000234 from The technique of film editing

Record Details:

Title:
The technique of film editing
Date:
1958
Publisher:
London : Focal Press
Volume:
The technique of film editing
Leaf #:
000234
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:
September 05, 2024
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Figure 8. A cut from a to b is acceptable because the action is ostensibly continuous, although a portion of the movement is omitted. The ability to shorten (or lengthen) the screen duration of an event is a most important factor in the editor's control of pace. In the cases we have mentioned, the shortening of an interval is brought about by implying that the piece of action is taking place off screen. But this principle of condensing real time can often be carried a stage further. It is sometimes possible to join two shots in such a way that the action is ostensibly continuous, yet, in fact, a portion of the movement has been omitted. Say, for instance, an actor is seen running away from camera towards an ascending flight of steps. The camera is behind the actor and it is intended that as he reaches the steps we should cut to another closer shot facing across the flight which will show him jumping on to the first step (Figure #, shots a and b). Now, strictly speaking, the two shots should be matched : the point in the action at which the first is cut should be taken up by the second. In practice, this may not always be necessary. In the course of the first shot there may come a point when the spectator will begin to realise that since the actor is running towards the flight, he will jump up the first two or three steps when he actually gets there. In such a case, it may on some occasions be acceptable to cut to 230