1. Styles of editing Discontinuity editing Continuity editing
Hollywood narrative style
“Analytic editing”
Invisible shot transitions
Shots subordinated to unity of segment
Implies a passive spectator
Discontinuity editing
Modernist and experimental
“Montage” style
Foregrounds shot transitions
Stresses formal integrity of each shot
Implies active spectator

2. Continuity editing Hollywood, narrative style. “Analytic editing.”
Invisible shot transitions.
Shots subordinated to unity of segment.
Implies a passive spectator.

3. Analytic editing in Sabotage

4. Discontinuity editing
Modernist and experimental films.
“Montage” style.
Foregrounds shot transitions.
Stresses formal integrity of each shot.
Implies active spectator.

5. The aesthetics of editing relies on four areas of choice and control
Graphic relations
Rhythmic relations
Spatial relations
Temporal relations

6. Rhythmic relations between shots
Metrical montage

7. Graphic relations between shots
Line
Shape
Depth
Angle
Tonal contrast
Speed and direction of movement

8. Graphic relations between shots

9. Graphic relations between shots

10. Spatial relations between shots
The “Kuleshov effect”
“Creative geography”

11. Temporal relations between shots
Jumpcuts
Overlapping edits
Flashbacks and flashforwards

12. Sergei Eisenstein ( )
To precisely calculate he design of the work of art and its effects on the spectator.
No practice without theory.
No practice or theory of art separate from the social command.

13. The ideogram and the montage cell

14. Eisenstein’s theory of spectatorship
To direct forcefully the emotions and thought processes of the spectator as a series of “shocks.”
Pavlov’s reflexology: stimulus and response.
Marxist dialectic: out of conflict comes a higher unity, a synthetic idea in the mind of the spectator.
Montage as a bridge between
Laws of aesthetic form;
Laws of mind.
Dialectics:
“From conflict or collision to a higher unity.”
“The dialectic as a leap from quantity (aesthetic form) to quality (transformation of consciousness in the spectator).

15. Vertical montage Metric montage Rhythmic montage Tonal montage
Physiological: photograms resolving into apparent motion
Shot length and pacing
Rhythmic montage
Artificially produced movement (logical and alogical)
Conflict between frames and syncopation of movement within the frame
Tonal montage
Associational or overtonal montage
Intellectual montage

16. Vertical montage

17. Metric and rhythmic montage

18. Tonal and overtonal montage

19. “Intellectual” montage

20. Dynamic structure and “ecstatic” composition
The Odessa steps
Chaotic movement : rhythmic marching
Masses : lines
Close-ups : long shots
Movement up : movement down
The stone lions “leap”