Editing: Invisibility

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Editing Invisibility Continuity and their
Alternatives
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Continuity Rules Quick Summary

• 180 Degree Rule is central. But there are a
  number of rules and techniques that go along with
  it and make it work.
• Together, these rules/techniques are sometimes
  called the Continuity System
• Breakdown Editing
• Use of Shot/Reverse Shot
• Eyeline Matching
• Matching on Action

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Continuity RulesExample from Casablanca
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30-Degree Rule

• 30-degree-rule in cutting to another shot of the
  same person or object, the camera position must
  be moved a minimum of 30 degrees.
• Otherwise, the action will appear to "jump,"
  which is known as a "jump cut."

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"DISCONTINUITY" EDITING

• editing that does not strive for spatial
  temporal continuity between shots
• may instead emphasize graphic similarities
  between shots ex. Japanese director Yasujiro Ozu
• or rhythmic relations between shots ex. Soviet
  montage filmmakers such as Sergei Eisenstein and
  Dziga Vertov
• may edit shots from all around a 360 degree
  circle ex. Ousmane Sembene African filmmakers
• may purposely violate continuity Godard, in
  Breathless, breaks almost all Continuity rules
  180 rule, eyelines, jump cuts, etc.

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Breathless original French title Á Bout de
Souffle1960, dir. Jean-Luc GodardSee Richard
Neupert's essay in Film Analysis

• Godards first film and one of the first films of
  a new movement
• The French New Wave
• Major success at the time
• Made Godard famous and helped the careers of his
  stars Jean Paul Belmondo (right) and American
  actress Jean Seberg.

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The French New Wave

• François Truffauts The 400 Blows Alain
  Resnais's Hiroshima Mon Amour appear in 1959,
  Godard's Breathless at beginning of 1960.
• "New Wave" films radical departure in style
• "The End of Grammar"
• But loved certain Hwd films. Breathless
  dedicated to low-budget Hwd. "B" films.
• Directors worked as film critics at Cahiers du
  Cinéma
• Hated literary-based "Quality" films
• Despised Litterateurs Loved Cinematic Auteurs
• The New Wave directors were "less inclined to see
  technique as a vehicle for statement than as
  something meaningful in its own right."