Pearson BTEC Level 5 HND Diploma in Creative Media Production – Moving Image
Unit 31: Development and Techniques of Film and Video Editing
Assignment 1: 1.3 Analyze genre-specific editing techniques
By Clive Allen
Film: ‘Don’t Look Now’
Genre: Horror / Thriller / Drama
Director: Walter Murch (Also sound designer / editing)
The editing throughout this film ‘Don’t Look Now’, utilized some very key principle conventions to engage the viewer from the beginning to the end of this movie. The lay up and introduction of the main characters were brought to life, with some quaint but subtle techniques. In particular, we see the Kuleshov effect, being utilized, as scenes from child playing around the lake, situated in open field, being matched cut to scenes, of motivational dialogue, taking place inside the family home. Through the use of very intricate symbolism, and key references, the editor, interprets the script, so that viewer can, automatically, begins to piece the puzzle together. This was achieved, by, match and cross cutting, from scenes in two completely different settings, being affected by one connected source. This created much intrigue, and further engages the audience, to want see if what they now suspect, is actually going to happen.
The rhythm of the film starts, very quiet, and ordinarily, yet throughout the cuts, cleverly placed elements were injected via motivational dialogue, digestive and non digestive sound effects, along with color coded subjects, from two situations, relaying symbolic connection. The Kuleshuv effect employed, works to subliminally suggest something very sinister is about to happen, cutting from scenes of odd person sitting wearing a red robe, in the church pew, backed turned to camera, to young girl, also playing very carefree along side pond, also wearing red coat.
Cinematography, keeps our eyes trace, steady, almost directing us to what the camera wants us t see. All the time the pace, is slowly building, to reveal the tragedy, which is about to happen, and we are seeing the events unfold, but rendered powerless to prevent it from happening. What looks like random selected film inserts, become the hallmark, in a continuous fashion. Kuleshov Effective montage, scenes, explores emotions, rhythm, and psychologically implies the rule of 6, insuring that the story has a continuous process as it evolves.
The dimensional plane on the screen is maintained in the edit, respectfully keeping with the 180-degree rule, (always filming from one side of characters throughout their dialogue). Conventions, using the three dimensional space, establishing wide shots, mixed with medium frames, and close up detailed features, to emphasise motivational intent. What strikes me very impressively, was the rhythm and pace of the edit, for this particular genre, as this film takes a very steady pace, which seems to speeds up, to impact the level of tension, colliding sequences of montages, cross cuts, and cross fades. All at the same tie, maintaining a constant pace, which draw you in even further.
One particular film scene with really illustrates the genius of the editor in this movie; was the love scene sequence. Here we see several things happening at the same time. The sequence was a montage, telling two stories simultaneously, and rhythmically, cross cutting, / motivated cuts; between scenes of couple taking their time while making love, while at the same time, we see the same couple actually getting dressed, and ready to leave the room, for the next scene. Here the editor manages to encapsulate our sense, in a timeless manor, (suggesting the time dimension, as if correlating between the time it takes to get dressed, was equivalent to the time it takes to have sex). The awareness how even the match cutting operates, for both connecting particular aspects of the story, but also to retains viewers attention, especially as the positioning of subject matter, keep ones eye trace transfixed, subtlety guiding audience to follow without any jerky movements..
The film utilises Flash back, or flash forward segments, to further challenge its audience, we later see the context of what appeared as random frames; finally unravel, after the reveal of our mystery character antagonist, goes in for the devastating blow.. We see more flash back, as blood begins to leave our protagonist’s body.. (He was in denial of his gift, which is what caused the death of his daughter, and now himself.)
In CONTRAST To….
Film: Kick ASS
Genre: Action / Adventure / Comic Spoof / Drama
Distribution: Lionsgate Studio
This film, tell you from the fist scene, what you was in for a ride.. Literally, turns what looks like every kids fantasy to wanting to fly, to a deathly reality, that we cannot fly.. This satirical humour is emphasized employing the marvel type transition’s, cross fade, and succinct match cuts, graphic marvel captions, with actors voice over, narrating his story. The film starts fairly normal, but ramps up, very quickly, and keeps you on the edge of your seat, with a twist of reality, and fantasy, merging with quite brutal consequences. The pace, keeps building, with strong musical sound track, which totally accompanies the dramatic scenes, which unfolds..
A Man stood on top of very tall skyscraper; steady camera, floats from behind him, reverse cut, to show his face, (looking like a genuine super hero). We then see a wide shot, of him Flying off the building, plummeting to the ground (Motivated cut), crowd applauses watching him fly (motivated cut), man then crashes into car with a bang, (reaction shot of crowd, in shock). This is a very upgraded Hollywood style production, which introduces, the theme, while destroying the myth of the usual super hero with extraordinary powers. Introducing comedy, twist, while injecting, ramped up energy compressing time through a very short, and impactive sequence. Cutting from this scene, to our main character, implying through this cut, that the main character, who want to be a hero, is actually a real loser..
Shots, such as; Wide shot of Bruce Willis, about to shoot his Co actor (Daughter), completely pulls you in, as the motivated transitional cuts, between their dialogue, and then the sudden, events which unfolds, starts to make you want to get more involved with this style of entertainment.
Key frames are used, to bridge various scenes, i.e. Match cuts, of Explosive view of Bullet which was just fired, cut to bowl in Alley hitting its target, where the same people can be seen, continuing their dialogue, (motivated cut), sat in café diner.. The diegetic sound, from bullet (bang, and the kettles being smashed, maintained the continuity, in both sound and sight. Film edit, speeds up with faster cuts, pacey music, a lot more action being introduced, even the transitions, play a part of the set up.. Clever use of effective ramping up of scenes, where the action raises the to a crescendo speeds up, and at times, reverses, to slow motion, emphasising the compression of time, and stating more attention to detail..
Interesting POV shots, are also utilised to enhance intrigue, or even to grant the viewer the privilege view point, adding more adrenaline, to particular scenes, especially where the action is building up.. (We can see this similar style of editing, in Kill Bill).
A proportionate use of CGI, have been used in this film, only to add some extra dimension, to scenes, but not used in a gimmicky sense. The film manages to keep you on the edge, with a fast paced cutting rate, and well choreographed action sequences. The editor has employed very smooth cross cutting, to move smoothly from one scene to another. This was a conscious decision, as it works, with camera pan action. This transitional cut, transports the viewer into the lives of various different, people, looking or discussing similar topic.
karmamediablog 