Editing Styles

Editing is part of the post-production, it is key in short films to signify when one scene has ended and another one begins.

CONTINUITY EDITING

A system of cutting to maintain continuous and clear narrative action. Continuity editing relies upon matching screen direction, position, and temporal relations from shot to shot. The film supports the viewer's assumption that space and time are contiguous between successive shots. The "180° rule," shown in the diagram below, dictates that the camera should stay in one of the areas on either side of the axis of action.

By following this rule the filmmaker ensures that each character occupies a consistent area of the frame, helping the audience to understand the layout of the scene.

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MONTAGE

An approach to editing developed by the Soviet filmmakers of the 1920s such as Pudovkin, Vertov and Eisenstein; it emphasizes dynamic, often discontinuous, relationships between shots and the juxtaposition of images to create ideas not present in either shot by itself.

This clip from October is an example of Eisenstein's montage. The increasingly primitive icons from various world religions are linked by patterns of duration, screen direction and shot scale to produce the concept of religion as a degenerate practice used to legitimate corrupt states.

CLICK ON THE FILM REEL TO WATCH THE CLIP

Soviet Montage proved to be influential around the world for commercial as well as avant-garde filmmakers.

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ELLIPTICAL EDITING

Shot transitions that omit parts of an event, causing an ellipses in plot and story duration. In this clip from Traffic, a drug party is rendered through elliptical editing (achieved with lots of dissolves and jump cuts) in order to both shorten the time and suggest the character's rambling mental states.CLICK ON THE FILM REEL TO WATCH THE CLIP

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Editing and Sound in Alfred Hitchcock’s - Psycho 

We know that Hitchcock’s purpose within the very renowned shower scene (shown in the YouTube video above) in psycho was to shock the audience with not solely the event of the murder itself however additionally the brutality of Mary’s murder. He dramatically switches the pace of the scene from the slow entrance of the dark figure to the short cuts of the murder.
 

Hitchcock exaggerated the utilization of cutting was an intentional relation to the cutting of poor Mary. In any case, the slow entrance and fast cuts remains a really effective cinematic jolt to an audience. The noise of the shower drowns out any sound. The door is then slowly and carefully closed and we see the shadow of a woman fall across the shower curtain. Mary's back is turned to the curtain. The white brightness of the bathroom is almost bright however also we plain with the whitewash walls. Suddenly we have a tendency to see the hand reach up, grasp the shower curtain, and rips it aside.
 

Then it cuts to Mary as she turns in response to the feel and sound of the shower curtain being torn aside, a glance of pure horror erupts in her face and a low terrible groan begins to rise up out of her throat. A hand comes into the shot. The hand holds a huge knife. The flint of the blade shatters the screen to an almost total, silver blankness.
 

The dynamical is an effect of a knife slashing, as if tearing at the actual screen, ripping the film. Over it the slashing gulps of screaming then we hear silence, which is interrupted with the dreadful thump as Mary's body falls in the tub.
 

A reverse angle is used as the blank whiteness, the blur of the shower water, the hand pulling the shower curtain back the audience then catches one flicker of a glimpse of the killer. A woman, her face contorted with madness, her head wild with hair, as if she were wearing a wig. Then the audience sees only the curtain, closed across the bathtub, and listen to the rush of the shower water, above the shower-bar we see the bathroom door open once more and once a moment we hear the sound of the front door slamming.

The use of the POV shot

The murder scenes in psycho shows how the film situates the spectator through point-of-view shots and direct address, first, how the murder of the protagonist inscribes licentious sexual behaviour onto her body, and, second, how we could inscribe gender onto a body because of misperceptions. When a shot's framing prompts us to see it as a character's vision, it's known as a point- of-view (POV) shot. Camera movement are often a powerful cue that we are watching a POV shot as a result of the camera eye acts as a surrogate for our eye and our attention. The point-of-view shot is vital because it allows the spectator to see with that character through a system of cuts or glances. In different words, as a result of the POV shot most frequently cuts between the character and his or her view, the shot constructs the spectator's awareness of space. For example, the first shot below from psycho shows the protagonist, Marion Crane, rummaging through her motel room window. The second shot shows Norman's house behind the motel, which Marion was looking at. The third shot cuts back to Marion to close the cinematic statement: subject of the gaze / object of the gaze / subject of the gaze. A second style of editing is direct address, the instance that the character looks directly into the camera and acknowledges the presence of the spectator. Direct address editing performs two functions. First, it establishes identification with the spectator by creating eye contact. Second, it objectifies the spectator. In different words, the editing causes suspense or anxiety as a result of the character seems to have discovered that he or she is being watched. For example, the shots below show Marion and Norman looking directly into the camera with nearly the same expression, as if implicating the spectator in the action: into Marion's crime of stealing money from her employer (which is why she escapes from Phoenix and ends up at the Bates Motel), and into Norman's mother's homicidal tendencies.

Conclusion
To conclude in this scene from “Psycho” editing is used to the producers advantage and is used to make suspense and inevitability. At the start the pace of the editing is the same it has a very steady cut rhythm making the viewer as an audience feel like its normal it makes us feel relaxed, as with editing a suspense scene you want to pace yourself slow then have a build up then a unleash this method was used effectively within the scene from “Psycho”. The editing of a scene will help portray feeling and emotion. The editing during this clip helps make the audience feel suspense and tension, we can see the editor use “Shot-Reverse Shot” when it goes from the women to the killers POV the pace of that section is quick and is over very quickly it might be emphasising the viewers heart pounding with the quick edits. The sound also can help to evoke audience reaction. During this scene it starts very quiet we can only hear diegetic sounds like the footsteps, pulling of the curtain, the sound of the water touch the floor of the shower. It additionally reflects the editors work as well, At the climax when the murder starts stabbing quick cuts and loud music are used to frighten to break the suspense that had been created with the silence and slow paced editing. The sound becomes non-diegetic and extremely loud both the volume and the juxtaposition of diegetic to non-diegetic breaks the tension and creates a daunting moment. Once the stabbing happens the editor chooses to linger in what has just happen holding shots for much longer by doing this one might suggest that the editing reflects the life of the woman and as she is dying slowly the cuts are holding for longer.

(This essay style response was taken from my AS Media Studies Blog and is all my own work)