Storytelling
The main idea of storytelling is to have an interesting
enough narrative to keep the viewer entertained. Shots, cuts and the sound or
audio used all help add to the entertainment. For example, quick paced cuts and
more upbeat audio would help to create a happy, fast faced environment.
The development of drama is built up through the use of
specific shots such as close ups and sounds to accompany that. For example, in
a horror film, a door banging or nails being scratched across something. These
things help to create tension and give a sense of excitement.
Editing like this helps the audience to see which genre the
film falls in to. Each genre (romantic, action, horror etc.) has their own
stereotypical editing styles to help us determine the differences between them.
Cutting from one shot to another can help to predict how the
audience will feel. This is the Kuleshov
effect.
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Kuleshov Effect
Example
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Combining shots into sequences
This helps the film or programme being edited flow better
and become one rather that all separate things. It helps to create a good
storyline and give random shots the structure they need in order to form a
narrative.
Creating pace
There are two paces – fast and slow. Fast paced editing
helps to create excitement whereas slower paced editing helps to create a more
emotional scene.
Here is an example of fast paced editing, taken from the
film Skyfall:
The reasons for the fast paced editing used within this film are not only to fit into the codes and conventions of an action genre film but also because it helps to add excitement and suspense. The short, fast shots help to get a lot of information across in a small amount of time with the audience on the edge of their seats taking it all in.
And here is an example of slow paced editing, taken from
Titanic.
The slow pace in this clip represents how slowly Jack dies. It makes the audience pay more attention and it helps to pull on the heart strings. Using fast paced editing here would not go down well as it is a very emotional scene.
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