Monday 27 February 2017

LoBrutto,"Invisible" or "Visible" Editing

LoBrutto uses examples from the films “All That Jazz” and “Spartacus” to explain the difference between “Invisible” and “Visible” editing. He discusses the difference between these two styles of editing, as well as how these styles can be achieved through different kinds of cuts.

Invisible Editing:

“Invisible editing can be accomplished in numerous ways utilizing match-cut principles, variations of which have been used in countless films.” The article uses example from “The Jazz Singer” to highlight how by seamlessly meshing the cuts, using the technique of match-cuts, creates a sense of continuity for the audience. The action flows together so that audiences aren’t aware of the editing occurring. This is accomplished through match-cut editing, which occurs when actions flow together. By blending some element of the previous shot with the next, either through sound or visuals, the sense of continuity is carried over, despite the action now taking place in a new scene. When conducted visually usually an action, motion, or scene is carried over to the next. As an example, a scene of a pipe dripping water might cut to a scene of coffee dripping into a cup. The action of liquid dripping is carried over, even if the liquid and location of that liquid is not.

Visible Editing:

“Visible editing is simply a cut of which the audience is aware. It makes itself known. It is like being woken up from a deep sleep by a crash or a loud yell.” As LoBrutto describes it through his analysis of Stanley Kubrick’s “Spartacus,” visible editing is achieved most often when jump cuts are used. A jump cut is the kind of cut that occurs in the middle of an action. Generally in film, actions are carried through until they are completed and then the editor switches to the next shot. However, when jump cuts are used, the usual flow of action and continuity is disrupted, creating a sense of unease and panic in the viewer. As an example, a jump cut might occur when someone goes to take a bite into a doughnut, and the action abruptly cuts to a beach. The actions don’t follow and don’t make sense in that order.


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