(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.

(V) Task Five: Continuity Editing

Continuity Editing

Continuity Editing became known as the popular 'Classical Hollywood' style of editing was developed by early european and american directors, in particular D.W. Griffith in his films such as "The Birth of a Nation" and "Intolerance"

The classical style ensures temporal and spatial continuity as a way of advancing narrative, using such techniques as the 180 degree rule, Match on Action and Shot and Reverse on. It helps relation a sense of realistic chronology and generates feeling that time is moving forward. It doesn't mean you can't use a flashbacks or flash forwards, as long as the narrative will still be seen to progressing forward in a expected or realistic way.

Eye Line Match:
This techniques links two shots together. We see a character looking at something off screen and then we cut to a shot of what they are looking at. This allows the audience to experience an event in the film.

The 180 Degree Rule:
The 180 Degree Rule is a basic guideline that strikes that two characters (or other elements) in the same scene should always have the same left/right relationship to each other. If the camera passes over the imaginary line axis connecting the two subjects, it is called crossing the line.

Match on Action:
This technique links two shots together. We see a character start an action in one shot, the camera then cuts to a different angle and we see the character finish the action in the second shot. this technique ensues that the action seems like one natural and realistic movement even when the actor may have really performed it twice.

Shot and Reverse Shot:
This technique links two shots togehter. The first shot reveals one character and the second shot reveals the second character. This allows the audience to connect the two characters and realise that they are interacting with each other.

(IV) Task Four: Montage

Montage

In our next class filming, we are making our montage which consist two shots of video within our topics. The topics that we have to make are Montage which the term montage has a slightly different meaning when reffered to in the following three contexts:

French Film
Soviet Filmmaking of the 1920s
Hollywood Cinema

The French Film practice "montage" has its literal french meaning (assembly, installation) and simply identifies editing which we did not use so forge this one.

The Soviet Filmmaking of the 1920s, "montage" was a method of juxtaposing shots to derive new meaning that did not exist in either shot alone. This montage is the main example that we use in one of our main montages. This montage is based on silent films and how they converts two things at once with just music and non-talking.

The person who came up with these montages is Lev Kuleshov was among the very first one to theorise about the relatively young medium of the cinema in the 1920s. He argued his way in to making another version on editing. He ways of the argument of editing was to have a way to constructing the film like a building. Brick-by-brick but with clip-by-clip the film is erected into a full movie or film. to prove his point, he tried to experiment it which came out like a success. By making it a big success, he took an old film clip of a noted russian actor and inter-cut the shot with different images.

When he showed the film to people they praised the actor's acting - the hunger in his face, when he saw the soup, the delight in the woman and he grief of the little girl. The simple act of juxtaposing the shots in a sequence made the relationship. The audience was able to infer meaning from looking at the two shots.

Sergei Eisenstein was briefly a student of Kuleshov's, but the two parted ways bceause they had different ideas of montage. By contrasting unrelated shots Eisenstein tried to provide associations in the viewers which were induced by shocks.

There are two clips that used as a example for our two montages and they were "Strike: and "Rocky Balboa" which are the montage of silence film and sound film.

The Strike: The strike was used as the Soviet Silence film as it was made many years before the ending of the silence film.

Plot
The workers must have rebelled on the Soviet army as they are changing the law of the workers' job and their money policy.

In the Hollywood Cinema, a "montage sequence" is a film in which narrative information is presented in a condensed fashion. For example, Rocky Balboa, the movement and the daily workout of Rocky which will take months but towards the viewers it will look like a week or a day.

There are two sets of montages that are used for our film Soviet and Hollywood.

For our Soviet Montage, we decided to have silent movement and speech for this film. Our choice of Soviet montage is called "Daydreaming" which we decided to do since I was the only one in the group who is always daydreaming. In this film, I will be playing the daydreamer, Edison and Usman are he thieves, Babs is directing and Ronaldo is filming. The plot of this film is the daydreamer is dreaming about his phone and how he misses them but he has flashback of why he misses his phone for they were stolen by thieves and they ran off with his phone. Then he goes back to reality only to daydream about the money to buy a new phone.



For our Hollywood Montage, we decided to have a film that involves action and creativity for this film. Our choice of Hollywood montage is called "The Boxer's Interview" which we decided to do since Babs decide to rein act the Rocky Training session from Rocky. In this film, Babs is the Boxer, Ronaldo is his Coach, Usman is the Presenter of the Match, I am the Rival of the Boxer and Edison is the Cameraman. Edison, Ronaldo, Me and Usman was the interviewer of the Boxer. The plot of this film is the interview with the Boxer and his flashback of his training with coach for the upcoming match with his rival. Then at the ending of the film, he begins his match with his rival.


With these two films completed, uploading it and placing it on the YouTube was kind of hard as we have to go through different staging which is making the work complete.

That Montage Coursework Complete