hummmmmm- kannski ég skelli þessum fyrilestri/parti eftir mig sem ég var með í skólanum fyrir skömmu. Stafsettning og svoleiðis er í rugli, þar sem þetta var fyrilestur, skipti það engu máli
Editing/Rendering
Editing for me has always been one of the most interesting aspect of film making. The power of manipulate single shots and joining them together in a such a way that you, the editor, has the full control. Taking a pretty dull scene and use your knowledge and original creative thinking to cut it together until that scene has reached another level, so it can exist all by it self.
As the years have been going, rules ore theory's have been put out which the editors follows. The editing technique most favored by Hollywood and generally throughout the world is CONTINUITY EDITING (also known as CLASSICAL CONTINUITY). continuity editing seeks to create the illusion of seamless action, movement, and, ultimately, narrative. It does so by deploying a strategy consisting of procedures which, in direct contradiction to montage theory, hides (or at least minimizes) the shift from one cut to the next, in effect making the edit as “transparent” as possible.
The editing in Midnight Cowboy is perhaps one of the most interesting and notable parts of the film. To support that, the film received Oscar nominations for Best Film Editing. Hugh A. Robertson The first African American editor to be nominated for an Oscar. The film is laced with frequent flashbacks, and at times the editing is intense, flashing from image to image rapidly and constantly changing views, but the movie strives for realism for the most part.
In the scene that we where watching- there where two interesting cut secvences done by the the editor,
in the fyrst secvence the editor is playing with the 180 DEGREE LINE, which is an imaginary line traced along the axis of action in a shot which is designed for continuity editing . The crossing of this line by the camera– disturbs spatial continuity by reversing screen direction.
But as we could see, the line was violated. In the first cut Joe was walking from right to left, then it cuts to Joe´s point of view and he is still walking from right to left. But then the camera crosses the line and we are seeing Joe´s face and that he is moving from left to right. This happens again later in such a much grater way. We see a close up of Joe walking from left to right but then it cuts to a medium shot of Joe from the other side so he is walking from right to left.
This kind of editing could be disorienting. As we could see this was done on pourpes. First of all the editor had established the scene secvense very clearly, Joe is walking in a straight line on the forty second street. By cutting the scene like that, the audience can feel and see Joe´s anguish, by seeing his face looking at the other cowboy hustlers, and then putting him into the same shot as one of the cowboys.
Then straight from that we see Joe walking almost straight in front of the camera so that we see his back. There we see the editor using Jump cut´s. An edit in which, contrary to the straight cut, either temporal or spatial continuity, or both, are not respected.
4 times we see Joe walking in the same position, holding his radio and the camera is in the same aspect of hight and distance to Joe. The only thing changing is the light and people around him.
By doing this the editor emphasis's strongly on Joe´s misfortune. That every day and night is the same for him, walking the street without any changes or buisnes. Taking only 9 seconds to show 3 days and nights in Joe´s life is a powerful and effective way to play with the audience reaction of Joe´s misery's.
Jump cut´s Once thought to be an extreme editing error, now it has become thoroughly conventionalized and commonplace for creating an effect of discontinuity or acceleration.
There are ofcourse more kinds of conventional cuting, even in the secvence where Joe where walking. When we see from Joe´s point of view another cowboy, we notice that he glances left with his eyes, then there is a cut where Joe is looking right, this is called eyeline match
The matching of eyelines between two or more characters. This establishes a relationship of proximity and continuity.