Lev Kuleshov
The kuleshov effect
What makes a "bad bit"
Metric editing
Editing only in regard to the consistent timing of cuts
Required to engage the audience
Change
Kirsten Johnson
Director of Cameraperson
Kuleshov?
Kuleshart
Dragnet (or 4-square) editing
The picture and sound happen at the same time. "See it, hear it"
Opposed the concept of continuity editing popular in Hollywood
Dialectical editing (or montage theory)
The rule of threes
The impact of a shot, scene, or sequence depends on what comes before or after it
Jean-Luc Godard
Filming two separate locations but editing them to maintain continuity
Creative geography
Small displacement of shots confuse the audience, but large shifts don't
Beehive concept
Concept of A+B=C
Two images juxtaposed against each other create a new synthesized meaning
The lean forward moment
The precise moment of change in a story
Dziga Vertov's film which uses non-fiction tonal editing
Man with a Movie Camera
The "reveal"
The concept that the order of shots can create a new emotion or tension
Murch (and John Huston) feel that film is "more like thought than anything else" because of this concept.
Blinking for the audience (blink editing)
Two shots that aren't recognizable cut next to themselves but work within the context of the edit
Intellectual editing
The killing Sollazzo scene in The Godfather
Example of good editing choices that enhance the tension leading up to a Lean Forward Moment
Explored the concept non-diegetic sound in film.
Arthur Lipsett
The movie "Just a Gigolo" with Marlene Dietrich and David Bowie.
Example of creative geography
Murch's six elements of an effective cut
Emotion
Story
Rhythm
(These previous three are most important)
Eye-trace
Two-dimensional (plane on screen)
Three-dimensional
The five editing concepts in Eisenstein's montage theory
Metric
Rhythmic
Tonal
Overtonal
Intellectual
The seven elements of a helpful logline
Restricted to three sentences
Identify major characters
Plenty of adjectives to help define those characters and the tone
Sets a tone and style
Defines key elements of the story
Give a sense of other characters and how they affect characters
Identify the subplots and other stories
Pioneer of the term "universal cinematic language"
Dziga Vertov