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EDITING AND REPRESENTATION,[object Object],[object Object]
Need to make connections between editing and representation.
But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation.
The role of editing in representation is open to interpretation, and is greatly dependent on context. So use your intelligence!,[object Object]
Eyeline match,[object Object],Eyeline match usually provides insight to a character's private thoughts.,[object Object],eg: In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, we keep cutting from her to the family and friends watching her, signifying that she, the woman, is the centre of the action.,[object Object]
Final shot,[object Object],In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with whom the audience is expected to identify.,[object Object],eg: In Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, ,[object Object],point of view. See also every EastEnderscliffhanger ever.,[object Object]
     Intercutting: juxtaposition,[object Object],Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference. eg: in EastEnders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.,[object Object]
Intercutting: tension,[object Object],When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience’s identification with a particular character.eg: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? ,[object Object],In Hotel Babylon, intercutting offers both tension and ,[object Object],juxtaposition: just as Adam is saving his colleague’s life with a jar of ,[object Object],jam, another African immigrant, Ibrahim, is being lost. The tension and juxtaposition lead the audience to identify with both characters.,[object Object]
Jump cuts,[object Object],These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules!,[object Object],eg: In Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.,[object Object]
Motivation,[object Object],A motivated edit is any transition ‘forced’ on the editor by the development of the action, narrative or character. ,[object Object],Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. ,[object Object],We can sometimes judge a character’s worth or importance by the number of cuts they motivate.,[object Object],eg: In Primeval, Cutter runs away from the tiger, drawing it away from Abby. ,[object Object],His constant motion motivates many of the cuts in this sequence, again reinforcing his status as the protagonist, if not the Proppian hero.,[object Object]
Pace of editing,[object Object],This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.,[object Object]

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Editing g325david alison

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  • 2. Need to make connections between editing and representation.
  • 3. But what does match-on-action have to do with character or representation?
  • 4. This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation.
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