AS1 Brief 1 part 2

Montage example-
However another example of montage is apocalypse now which is made by Francis Ford Coppola. This film was made in 1979 it was an epic war film that was set during Vietnam war.




Methods of montage- 

Montage is motion picture terminology, which is from the french for putting or assembly is a film technique. There are three different terms for montage;

• The first term is by the french which is practice "montage" has its literal french meaning which is "assembly, installation and simply identifies editing". 
• The second term of montage is by Soviet film-making of the 1920's- Montage is a method of juxtaposing shots to derive new meaning that did not exist in either shots alone. 
• The third term of montage is by Classical Hollywood cinema- Montage sequence is a short segment inf a film which narrative information which is presented in a condensed fashion. 

A film that shows an example of montage sequence is Rocky when he is preparing for his fight. 

Soviet montage theory- 

Sergei Eisenstein was a student of the Russian Director Lev Kuleshov. but they both parted away as they both had different ideas of montage. Eisenstein thought montage as a dialectical means of creating meaning, this was done by contrasting unrelated shots he tried to provoke associations in the viewer, which was induced by shocks. An example to show Sergei theory is Strike, also another example is battleship potemkin

Continuity editing- 

Continuity editing retains a sense of realistic chronology and generates the feeling of time is moving forward. They may use flash backs or flash forwards but the narrative will still be seen in the process of going forward in an expected or realistic way. Continuity editing became known as the popular “classical Hollywood” style of editing which was developed by early European and American directors such as D.W. Griffith in his films The birth of the Nation and Intolerance. The classical style ensures temporal and spatial continuity. They would use many different techniques such as;

1.     180 degree rule

2.     Establishing shot

3.     Shot reverse shot

4.     Eye line match

5.     Match on action

6.     Graphic match

Eye line match-

Eye line match is when we see a character looking at something that is off the screen and then we cut to a short of what they’re looking at. the image below is showing an example of eye line match. 

Match on action-

Match on action is when we see a character at the start of an action in on shot them see them continue it in the next shot.

Graphic match-

Graphic match is when two shots are linked with a similar shape or composition of an image. The picture below is an example of graphic match from the film psycho the circular image of the plug whole with the next image of marions eye. 

French new wave-

French new wave film makers such as Jean Luc Godard and Francosi Truffaut, went far with limits of editing techniques during the late 1950’s and also throughout the 1960’s. French new wave films and the non-narrative films of the 1960’s used carefree editing style an didn’t conform to the traditional editing etiquette of Hollywood films. French new wave films editing mainly drew attention it itself because of the lack of continuity and its self-reflexive nature, but finally the over use of jump cuts of the insertion of material not often related to any narrative. An example where jump cuts are over used is A bout de soufflé -

The first Moviola- 
Before the widespread of use of non-linear editing systems there was initial editing. Initial editing was done with a positive copying copy of the film negative this was called a film work print which was also known as copying in the UK. By someone physically cutting and pasting together bits of film they would do this by using a splicer then they would thread the film onto the machine then it will then be able to be viewed from  Moviola.

Final cut- 

In the 21st century most films are now edited on a piece of software called Avoid or final cut express. In the 21st century most of the films will be edited digitally. Due to the advent of digital intermediate other wise none as DI the physically negative doesn't physically need to be cut or spliced together. The negative is optically scanned into a computer onto the software and a cut list is confirmed by a DI editor. There are many different types of final cut software's these are;

1. Final cut pro 5
2. final cut studios
3. final cut express HD
4. final cut express 4

and there are many more types. Also with final cut express its supports are Apple, this product is mainly run from Apple products for example Apple Mac.

Rules of editing-

The Hollywood director called Edward Dmytryk came up with seven rules of cutting, which a good editor should follow. The rules he came up with are;

1. Never make a cut without a positive reason
2. when undecided about the exact frame to cut on cut the frame long instead of short.
3. Whenever possible cut in movement
4.  the "Fresh" is preferable to the "stale"
5. all scenes should begin and end with continuing action
6. cut for proper rules rather than proper "matches"
7. Substance first then form

The seven rules above are the rules that the Hollywood director followed to make so many people successful with in cutting and editing.

Walter Murch's-

Walter Murch's also came up with six main criteria for evaluating a cut or deciding where to cut. Walter Murch's had a different view to the rules that the Hollywood director Edward DMytryk came up with. The rules that Walter Murch's came up with they was put into order of importance first then
given a national percentage values. The six criteria Walter came up with are;

• Emotion 51%- does the cut reflect what the editor believes the audience should be feeling at that moment
• Story 23%- Does the cut advance the story
•  rhythm 10%-does the cut occur at a moment that is rhythmically interesting and right
• Eye trace 7%-does the cut pay respect to the location and movement of the audience focus of interest with in the frame
• Two dimensional plane of the screen 5%- Does the cut respect the 180 degree rule ?
• Three dimensional space of action 4%- is the cut true to the physical/spatial relationship within the diegesis.