(VI) Task Six: Non-Continuity Editing

Non-Continuity Editing

Non-Continuity editing is the predominant style of film editing and video editing in the post-production process of filmmaking of narrative and television programs. The purpose of continuity editing is too smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots. In most films, logical coherence is achieve by cutting into continuity, which emphasises smooth transition of time and space.

In the Non-continuity has a technique called the "French New Wave" which are used by filmmakers such as Jean-Luc Godard and Francois Truffaut pushed their limits of editing technique during the late 1950s and throughout the 1960s. French New Wave films and the non-narrative films of the 1960s used to a carefree editing style and did not conform to the traditional editing etiquette of Hollywood films. French New Wave editing often draw attention to itself by its lack of continuity, its self-narrative nature (reminding the audience tat were watching a film) and  y the overt use of jump cuts or the insertion of material not often related to any narrative.

Jump Cuts:
A cut in film making in which two sequential shots of the same subject are taken from camera position that vary only slightly. This type of edit gives effect of jumping forwards in time. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. This kind of cut abruptly communicates the passing of time as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard's Breathless, when jump cuts were famously first used etensively. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasixing editing. jump cuts, in contrast, draw attention to the constructed nature of the film.


Breaking the 180 Degree Rule:
In film making, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. An imaginary line called the axis connects the characters, and by keeping the camera on one side of this axis of every shot in the scene, the first character is always frame right of the second character, who is then always frame left of the first. The character passing over the axis is called jumping the line or crossing the line. The object that is being filmed must always remain in the centre, while the camera must always face towards the object.