EDITING
WORDS: DAVID ALLISON
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camerawork such as close-ups and low angles conveys status and emotion to the audience. The use of costume, props and settings functions of mise-en-scène are also pretty transparent to most students.
But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof - in the same way that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context. So use your intelligence!
But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof - in the same way that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context. So use your intelligence!
ACTION MATCH
When following a single character (e.g. Billy Elliot dancing) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations and offers an opportunity for juxtaposition.
EYELINE MATCH
Eyeline match usually provides insight to a character's private thoughts.
FINAL SHOT
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with which the audience is expected to identify.
INTERCUTTING: JUXTAPOSITION
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference.
INTERCUTTING: TENSION
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience’s identification with a particular character.
JUMP CUTS
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules!
MOTIVATIONA motivated edit is any transition forced on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate.
PACE OF EDITING
This can imply character qualities, especially if only one or two characters are in the sequence.
infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs) while Similar effects can be achieved with speed ramping and slow-motion.
PREVALENCE
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change character’s status.
SELECTION: to show or not to show
As film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit.
SHOT / REVERSE SHOTS and REACTION SHOTS
S/RS indicates the relationship between two characters: it signifies and sometimes exaggerates their closeness or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two characters are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally?
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e.g. a scene in Skins showing a young Russian woman’s swinging of the axe (representing of sex and power) is juxtaposed with a fat Russian dinner lady heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented. e.g. In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, it keeps cutting between her and the friends watching her, signifying that she, the woman, is the centre of the action. e.g. in Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every East Enders cliffhanger ever. e.g. in EastEnders, the frantic attempts to break free from captivity is in stark contrast with the soft lullaby of the expectant mother. The happy couple are represented as wide-eyed and naive, which conveys a sense of innocence. This provides a more favourable representation of middle class family life over the working class single mother. e.g. In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. The tension and juxtaposition lead the audience to identify with both characters. e.g. in Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive. e.g. in Primeval, Cutter runs away from the tiger, drawing it away from Abby. His constant motion motivates many of the cuts in this sequence, again reinforcing his status as the protagonist, if not the Proppian hero. A fast pace might suggest energy or panic (depending on context).
e.g. in Hotel Babylon, Adam is invisible (‘just one of many refugees’) until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel. e.g. in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it is also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting). e.g. in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
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