Editing

• As we saw in the discussion of the camera's mediation, the duration of a shot starts to indicate one of many roles that editing performs.
•  Example from Do the Right Thing: Camera Pan in a confrontation between Mookie and Sal vs. editing later on in the confrontation between Sal and Radio Raheem/Buggin Out.

• Analysis of the dream sequence in STNG demonstrates that the same kind of problems of distinguishing between elements can occur in the relationship between editing and mise-en-scene:  at what point is it a matter of placing and setting and at what point is it editing.
• Examples: The bird wing turning into the crow, Data finding himself on the deck, Data finding himself on a bed on the deck.

What these points demonstrate is that more is at stake in editing than simply "joining together shots".  That editing functions so closely with other elements of cinematic expression (camera's mediation and mise-en-scene, for example) that making distinctions between elements can be difficult.  As a result, editing needs to be conceived of in a broader manner.  This is the value of Bordwell and Thompson's discussion of editing.

DEFINITION:  Bordwell and Thompson define editing as the coordination of one shot with the next.
 

• This definition expands the concept of editing beyond the joining of the two shots to encompass all the dimensions at stake there.

• It looks beyond the transition between shots--fade, dissolve, wipe, or cut--to look at their total relationship. Transitions are conceived only as time cues.

• The problem with Bordwell & Thompson's discussion of editing, however, is that they (again) skew a conceptual discussion in terms of the film-maker's control.  The result is that they sacrifice the richness and scope of the issues here, as well as distorting the accuracy of their arguments.
• B&T argue that graphic and rhythmic relations are present in every shot, but that temporal and spatial dimensions may be irrelevant.
• This discussion will show that it is far more conceptually accurate to argue that every dimension is present in every relation between shots, but one dominates or regulates the relations--not unlike the relationship between elements in mise-en-scene or camera framing.

THE FOUR DIMENSIONS OF EDITING

—        Spatial Editing:  Definition: Spatial editing is when the relations between shots function to construct film space.

Characteristics:

• Establishes a whole and separates it into parts OR
• Establishes parts to create a whole.
• Example: The opening to DTRT shows radio studio, Da Mayor's apartment, Smiley on the street, and Mookie in his room.  Parts construct a whole neighborhood.
• Allows the film to relate any two points in space through similarity, difference, or development.

• Temporal Editing:  Definition: Temporal editing is when the relations between shots function to control time.

Characteristics:

• Works to convey the order, duration, or frequency of events.

§    Order: the temporal succession of events.

Example:  DTRT starts at point A then goes forward to B, C, D. No flash-backs or flash-forwards.

§    Duration: the relationship between screen-time and story time--editing can compress time through ellipsis, or expand time through overlapping.

Example:  Mayor opening a beer is an example of ellipsis. Expansion occurs during the choking of Sal (the fight) but not through over-lapping editing.  Rather it occurs through cutting to different reactions to the action.

§    Frequency: the amount of times an event occurs-- a singular take or repetition of actions through multiple shots.

Example: Repetition of actions occurs during the pizza delivery to Tina's apartment and of the garbage can through the window.

• Rhythmic Editing:  Definition: Rythmic editing is when the relations between shots function to control film pace.

Characteristics:

• A shot's physical length corresponds to a measurable duration.
• Rhythmic function occurs when several shot lengths form a discernable pattern.
• equal length will create a steady metrical beat
• lengthening shots can generate a gradually slowing tempo
• Successively shorter shots can create an accelerated tempo.

Example: The confrontation and fight scene in the pizzeria does not follow some simple rhythmic pattern in terms of the lengths of shots getting shorter the closer it gets to the eruption of violence.  Once violence commences, overall the length of shots is shorter, but even here there are exceptions--most notably the long pause after Sal breaks the radio.
 

• Graphic Editing: Definition: the comparison of purely pictorial qualities from shot to shot independent of space and time.

Characteristics:

• Compares patterns of light and dark, line and shape, volumes and depths, movement and stasis.
• Graphic editing can achieve smooth continuity or abrupt contrast
  Example:  The opening of the film with Rosie Perez dancing in different costumes and in different settings, the cut to the boxers on the wall during the pizzeria fight, and the scene of racial taunting.

Source: http://www.dartmouth.edu/~film01/editing.html