Classical narrative film editing is changing. Apparent jump cuts, reversing screen direction, and cutting during moving shots are contraventions of traditional film-continuity practice that break seamlessness and draw attention to film structure, potentially plucking audiences out of their suspension of disbelief. These edits signal a transition in accepted devices. Audience acceptance of broken rules might mean there is less need for orienting supports, that audiences have surpassed the need for the rules. As audience cognizance of filmmaking procedures increases, the viewing experience transitions from that of narrative story to narrative story with implicit critique of editing prowess. For film students, the task is not just whether an edit works in context, but the degree to which it draws attention to itself and whether that confuses the viewer or furthers the film narrative.
|Keywords:||Editing, Video, Film, Narrative, Image Theory, Teaching and Learning, Postmodern, Meaning, Jump Cuts, Screen Direction, Moving, Shots|
Yukon Territory, Canada