Theories 1

There are 3 different types of editing theories.

One of those includes Bordwell and Thompsons theories of editing which was made in 2001.

It is split into 4 sections; Graphic, Rhythmic, Spatial and Temporal.

Graphic Editing focuses on the 'pictorial qualities' within the elements of the Mise-en-Scene and Cinematography. Examples of these include:

Patterns of light & dark, fine & shape, volume & depth, movement & statis. Considers colour similarities & differences. Can be used to create smooth continuity or abrupt contrast.

There are 3 sub sections to Graphic Editing, which include;

Graphic Match: Linkage of shots by graphic similarities.

Graphic Continuity: Centre of interest constant throughout cuts, maintaining lighting level , avoiding strong colour clashes.

Graphic Discontinuity: Plays with juxtaposition of placement of focus figures, constrasts with colour and footage types (e.g. Super 8 Vs DV), movement & stillness.

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Rhythmic Editing considers duration of shots - the length of each in relation and its pattern involving accent, beat and tempo. Specific emphasis on particular shots giving different effects.

E.G.

• All shots the same approx length = Steady metrical beat.
  
• Steadily lengthening shots = Gradually slowing tempo (leads to resolution or can build tension)
  
• Successively shorter shots = Accelerating tempo (builds excitement)
  
• Longer shots = Greater time for audience reflection.
  
• Rapid series of shots = Little time for thought.

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Spatial Editing concerns film space (setting, location) & relation and manipulation of different points through similarity, difference & development.

• Continuity editing produces analytical space via an establishing shot, whether that be a extreme or long shot, followed by smaller range mid-shots.
• The 'Kuleshov effect' (no establishing shot) leads to the inference of a single locale, a spatial whole based on seeing only portions of the space. Audiences will infer a 'connective relationship' between shots or spatial coexistence.
• Crosscutting (parallel editing) can emphasis action taking place in seperate places.
  

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Temporal Editing concerns time of action & contributes to the plots' manipulation of story time - order, duration & frequency. The order of presentation of events can be manioulated equalling changes in the stories plot relations which interrupt the temporal order.

E.G.

Flashbacks to past events to increase story knowledge. Flashforwards to future events to create enigma.

Duration of story events within the plot can be altered via the use of ellipsis which presents actions in less screeen time than within the story.

Ellipsis:

• Punctuation shot chance; dissolve, wipe & fade signals omission of time.
• Empty frames; figure of interest seen moving out of a frame, cuts to empty frame where figure moves into it.
• Cutaway; a shot of another event elsewhere that does not last as long as the ommited action.

The frequency of events in continuity editing tend to be shown only once. Repetition can provide a powerful tool for building tension & expectation often to show explosive action.

I could include Bordwell and Thompsons theory of editing in my music video in where my figures of interest are within the frame. I will generally look to place them in the middle of the screen and have them the centre of attention.