Abstract

Going back to history of film editing we can see quite a number of systematic attempts to classify the editing types. Béla Balázs, Vsevolod Pudovkin, Semen Timoshenko, Sergei Eisenshtein, Raymond Spottiswoode were doing their best at the time of 1920s-1930s to construct the classification of film editing types. Being at that time at the edge of the “film practice”, nowadays these attempts become aware of the lack of conjunction in “film practice” and “film science” that have been developed up to now. Moreover, the mentioned attempts were accented mainly on emotional component of audience perception. The real functionality of the cut, at this very moment, just at this very frame happened to be out of the look. In addition, all classifications were built on linear principle – i.e. the simple list of types. It is clear now that the simple listing cannot cover all the variety of existing editing types, and that it is not possible to mix the editing types and editing techniques in one simple listing.The scope of the article is within the multi-level hierarchical classification that is based on the motivation principle of the cut. That means the functional causes for film director or film editor to cut at a frame to achieve the desired impact on audiovisual perception. This makes it easy to construct the conjunction of editing types and editing techniques, the latter being the consequently subordinated to functions of editing.There are three main functions of editing in terms of primitive audiovisual perception of shot sequences that apply on content perception. These are:continuity (or continuity editing), meaning just to tell the story without the redundant details (i.e. shots);intellectual (or intellectual comparison of the shots), meaning the effect of any shot differs sharply from that of its precursor and successor, resulting in an impact of the sensation and concept deriving from contiguous shots; and from this impact may arise a third concept different from that of either of the components which produced it;disjunctive (or provocative editing), meaning the effect of combining the shots together that are against the editing rules, with the deliberate aim to attract the audience attention, sometimes even to shock (the best samples could be found with the almost every music video, however, it happened to be the distinctive practice for many feature films, as well).

Highlights

  • Film directing is under influence of new technologies the same as the entire film industry

  • Стаття презентує погляд авторів на цю проблему та певні висновки з накопиченого практичного досвіду

  • The system of student education at high institutions requires the appropriate answer to these permanent changes in order to bring the process

Read more

Summary

Introduction

Film directing is under influence of new technologies the same as the entire film industry. І якщо засвоєння сучасного цифрового аудіо-відео інструментарію не така вже й складна процедура, то підготовка, навчання та виховання вітчизняних режисерів — професіоналів у кіносвіті — має часом «класичний» характер, а зміна умов існування аудіовізуального простору вимагає інших підходів та інших, сучасних методик опанування фаху. Але обсяги кількості щорічно створюваних кіностудіями України стрічок вражають уяву: сам лише «Київнаукфільм» іноді за рік випускав до 300–400 фільмів різноманітного виду та жанрового розмаїття.

Results
Conclusion
Full Text
Paper version not known

Talk to us

Join us for a 30 min session where you can share your feedback and ask us any queries you have

Schedule a call

Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.