Rejecting traditional continuity editing: the jump cut, long take and split screen

Nielsen, Annika (2013) Rejecting traditional continuity editing: the jump cut, long take and split screen. BA dissertation, University of Portsmouth.

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    This dissertation focuses on editing and how it can manipulate viewers. Concentrating mainly on unusual editing techniques including the long take, the jump cut and the split screen this study will explore the uses of these visible editing techniques and how directors choose to use them and for what effects. By opposing traditional continuity editing these techniques draw attention to themselves and force viewers to participate actively in the viewing process. Films are not only entertainment. Film is an art form which can be interpreted differently which these techniques allow much more extensively than traditional editing. The first chapter focuses on the jump cut, introduced by New Wave cinema, and how it distracts a viewer from becoming too absorbed in the narrative. The second chapter focuses on the long take and the decision not to cut allowing a viewer the freedom of deciding what to focus on in a scene. The final chapter analyses the split screen and its possibilities of multiple storytelling, showing characters in different places simultaneously and allowing a viewer to become the editor. The theory of montage by Eisenstein and Bazin’s theories on depth of field and the long take will be used to illustrate and understand the uses of different editing techniques. Examples of films by auteurs such as Darren Aronofsky and Lars von Trier, featuring the techniques, will be used to analyse when and why these techniques were used and how they contribute to the viewers’ visual experience.

    Item Type: Dissertation
    Departments/Research Groups: Faculty of Creative and Cultural Industries > School of Media and Performing Arts
    Depositing User: Jenni King
    Date Deposited: 30 Jan 2014 09:53
    Last Modified: 28 Jan 2015 12:32

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