Introduction
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The process of editing –the selection, timing and assembly of given shots into a film continuity – is acrucial element to the production of a film. In the past, editing may have beenjust a means of clear and concise story-telling. Nowadays, purposeful jumps, fast-pacedcutting and montage techniques have placed more creative control with theeditor than ever before. Postproduction editing affects the pace and rhythm ofthe film in addition to building suspense and an emotional connection with theaudience.
Walter Murch, a prominent film editor and USC grad, succinctly describesthe process:
“Thefact is that there is always much more film shot than can ever be included inthe finished product: on average, about twenty-five times too much –which wouldmean fifty hours of material for a two-hour film. Sometimes the ratio is ashigh as a hundred to one, as it was on ApocalypseNow. And films are almost always shot out of sequence, which means that onthe same day the crew culd find themselves filming scenes from the beginning,the end, and the middle of the script. This is done to make the schedule moreefficient, but it means that someone—the editor—must take on the responsibilityfor finding the best material out of that great surplus and putting it in thecorrect order. Although there is a universe of complexity hidden in those shortwords “best” and “correct”.'
Timing and Pacing
The editor has the freedom to change the timing and pacing of a sequence in order to draw an emotional response from the audience. During highly dramatic moments, the editor may choose to convey the story's tension through fast-paced cuts or linger on a particular shot. The pacing also depends on the genre of the film -- comedies rely on timing for the full effect of a joke, while thrillers also need it to build suspense and excitement. In the video below, a filmmaker goes through two different sequences to highlight the needs for fast and slow pacing.
Editing - Fast vs Slow Pacing
Fast pacing may be present throughout the entire film, as seen in action-pack movies like Crank (2006), or may be used singularly to develop a particular scene. Movies like Lost in Translation (2003) used slower pacing to match the overall theme of the film.
Montage
The use of montage is an artistic device for creating message economically by cutting together short lengths of film rather than telling the whole story. Montage sequences are different from continuity editing and are often are used to explain time passing or narrative information in a condensed fashion. Typically, a song plays in the background that enhances the mood and reinforces the message of time passing. They can also include shots where there are multiple images on the screen.
A classic convention of gangster films is the use of news headlines thrown over each other. In this case, the voices of the newspaper boys shouting the titles is heard to indicate the passing of time in addition to relaying specific events. Another montage convention is its use in sports training films, where protagonists like Rocky train over a long periods of time, getting better by the end of the sequence. In the short clip below from Team America, the filmmakers show the conventions of a montage while utilizing one. Team America Montage
Sergei Eisenstein, a key filmmaker and theorist from Soviet Russia, is credited for developing the use of montage in film sequences. He describes five montage theories - metric, rhythmic, tonal, overtonal, and intellectual, which are based on the idea that montage originates in the'collision' between different shots in an illustration of the idea ofthesis and antithesis. Different from continuity editing, montage is found where there is conflict in the juxtaposing two images. Eisensteinfelt that this collision manipulates theemotions of the audience and create film metaphors.
Eisenstein's Battleship Potemkin
In this film, Eisenstein uses his theory of montage by contrasting the innocence of the mother with the violence of the soldiers in order to create the greatest emotional response from the audience. The characterization is made simple so that the audience would know who they should be sympathetic towards.
Juxtaposition
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By cutting certain shots together, seemingly dissimilar sequences could build new meaning to the scene that would not have existed in either shot alone. This method can either highlight their similarities, differences, or both. One famous sequence is the baptism and murders of the heads of families sequence in The Godfather. As Connie and Carlo's son is being baptized, the film cuts to images of the other heads of families being murdered by Michael's men. The use of juxtaposition captures the duality between calmness and calamity, as well as captures the irony of Michael becoming a godfather himself. This scene is also an example of parallel editing, where two simultaneous events are cut back and forth between one another.Scenes from The Godfather (1972)
Use of Psychology
Misdirection is the act of wrongly guiding; it is often used in magic shows where magicians direct the attention of the viewers (for example, to his empty sleeves) away from where he wants them to look. Though misdirection is used most famously in live shows, films can also use misdirection to lead the audience to an incorrect assumption using editing or writing. In its most basic form, filmmakers use psychology to trick audiences into believing the film being portrayed is real and into feeling emotions about the story. By synchronizing the visual and audio cues, a filmmaker guide viewers' perceptions into believe that what they see is real.
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Filmmakers can employ psychology and misdirection while editing films to make the viewer assume something is happening simultaneously with another action when it is not. For example, in The Silence of the Lambs, Agent Starling is searching the interior of Buffalo Bill's house. Cut between these shots, Agent Crawford and his backup team are flying over towards Bill's house in a helicopter, arriving to the house's exterior. The audience never expects that these might be two completely different houses. By tricking how the audience perceived the film sequence, this use of misdirection builds the film's suspense and thrill value.