Theories 1

BORDWELL AND THOMPSON

Bordwell and Thompson's main focus was 'Hollywood Film' editing, they noticed how the shots could link to the next in different ways.

As a pair they noticed four different relations between shots in editing:
-Graphic
-Spatial
-Temporal
-Rhythmic

Graphic editing:
Film is VISUAL, so the transitions between shots can be linked graphically, using 'pictorial qualities'.
The different shots are related by patterns of light and dark, volume and shape, and movement and static. The first shot, followed by the next shot use one of these similarities and they can be used to create 'smooth continuity' or 'abrubt contrast' within a series of shots. For example in this scene in psycho the film created by Alfred Hitchcock The shape of the plug hole then has a 'graphic match' with the characters eye, the round shape of the plug hole fades into the round shape of the eye.


There are three different ways in which shots can be linked graphically:

The different shots are linked by GRAPHIC MATCH: which means the linkage of shots by graphic similarities.

GRAPHIC CONTINUITY: centre of interest within the shot is constant throughout the cut, the lighting levels are maintained and strong colour clashes are avoided.

Lastly there is the opposite of graphic continuity which is GRAPHIC DISCONTINUITY: Which contrasts colour and footage types, movement and stillness, placement and shape of the figures in focus.

Rhythmic Editing:
Rhythmic editing considers the duration of shots, the length of each in relation and its pattern involving accent, beat and tempo.
By having specific emphasis on particular shots, it gives different effects. If all of the shots are the same length then it gives the sequence a steady metrical beat.
Using a rapid series of shots it doesn't give the mind much time for thought. These are just two examples of rhythmic editing but there are many other ways of using rhythm within editing to create effect.


Spatial Editing:
Spatial editing concerns film 'space', for example setting and location and relation between and manipulation of different points through similarity, difference and development.

Continuity editing: analytical space via an establishing shot, followed by a smaller range of shots, such as close ups and mid shots. By using an establishing shot you show the space of the setting and then get a wider idea of the space its set by using lots of other shots.
The Kuleshov effect- No establishing shot is used, it leads to the interference of a single locale, a spatial whole based on seeing only proportions of a certain space. Audiences with piece together the shots and make a connective relationship within the shots also called 'Spatial Coexist'
This music video in the beginning is all filmed within one space for example, Tinchy Stryder, Dappy and the female dancers are all performing in front of one space, not at the same time at different times.

Temporal Editing:
Temporal editing concerns time of action and contributes to the plots. Manipulation of story time/order/duration and frequency.
An example I use to explain this is in the Bourne Ultimatum films, Jason Bourne doesn't use the toilet once, but he obviously uses the toilet but as it isn't important it isn't shown in the film AKA Temporal Editing.

The order and presentation of events can be manipulated which signifies changes in the story plot. e.g flashbacks increases the story knowledge and flash forwards create enigma. (A problem you wait/hope to be solved)

Another form of temporal editing is to take out the stuff we don't need to see within a film/video which is called Ellipsis. Other ways are punctuation shot changes, e.g dissolve,wipe and fade signals. Empty frames e.g figure of interest seen moving out of frame, cuts to empty frame where character moves into it.

For example in this Calvin Harris music video he looks at pictures and then it flashes back to the night before so the audience can see what the pictures entail. (Flashbacks increase the story knowledge)