Post 33: PLANNING: Editing

EDITING

Our editing style, we know already, we plan to be slow and not heavily edited in port-production with long takes that can really take in the story, to fit the more sombre tone of the song, rather than be heavily edited with lots of cuts that can come out as jumpy and fast. We also want to focus on the sisters, so the cameras will often be rolling for a longer time on the sisters and their movement and not just just on and off for certain shots that are pieced together later to make the story. Below is an example of one longer shot that we could use, instead of lots of little ones, when shooting in the car moving from one sister across to the other:

NARRATIVE:

Above is a video I found on YouTube roughly describing what narrative is. It helped me understand the meaning of narrative and how it is used. 

LINEAR NARRATIVE - 

Linear narratives present stories in a logical manner by telling what happens from one point in time to the next without using flashbacks or flash-forwards and then returning to the present.

NONLINEAR NARRATIVE - 

Nonlinear narrative, disjointed narrative or disrupted narrative is a narrative technique, sometimes used in literature, film, hypertext websites and other narratives, where events are portrayed, for example, out of chronological order or in other ways where the narrative does not follow the direct causality pattern of ...


The Kuleshov effect

Lev Kuleshov, who was arguably the very first film theorist ever, was the one who demonstrated that editing meant more than cutting bits of film together to form a coherent story; it could evoke emotions based on their order and position. This reaction to editing is called the  Kuleshov Effect. In the dawn of the 20th century, cinema was a new art form with many techniques that hadn’t been developed and haven't been studied to the needed extension. Filmmakers knew that you could cut and splice the film strip, but they didn’t completely understand the purposes of doing so. Through his experiments and research, Kuleshov discovered that depending on how shots are positioned the audience will attach a specific meaning or emotion to it. In his experiment, Kuleshov cut an actor with shots of three different subjects: a hot plate of soup, a girl in a coffin, and a pretty woman lying on a couch. The footage of the actor was the same expressionless gaze, yet the audience interpreted his performance, saying first he looked hungry, then sad, then lustful.

This effect could be useful for our music video to enhance the characters feelings and emotions without relying on their ability to act. Kuleshov argued that more important than the acting and talent of the actor is the way the final film or video will be cut and positioned. Without the right editing effects the acting of the characters could be useless. Because all our actors are amateurs and have only been involved in a few minor acting roles, editing techniques such as the Kuleshov effect will be useful to make a scene look more authentic.

AG & LR