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Continuity vs. Discontinuity

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Linus Heilmann

on 20 November 2014

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Transcript of Continuity vs. Discontinuity

Continuity vs. Discontinuity
in film
directional continuity, eyeline match, match on action cut, shot/reverse shot, cross-cutting, establishing shot, spacial continuity
spatial discontinuity, jump cut
Film Sound
internal & external diegetic sound, nondiegetic sound
Director as "Auteur"
French Nouvelle Vague
- smooth flow from shot to shot

- logical coherence

- fluent continuous transition

- consequent graphic quality, constant lighting & tonality

-David Wark Griffith – invented rules
directional continuity
spatial continuity
establishing shot
shot/reverse shot
match on action cut
eyeline match
- establish geography in a scene
- 180° line
- establishing spatial continuity
editing rules
- ignoring the rules of continuity editing

- dislocations of time and space

- Sergei Eisenstein – pioneer of discontinuity style

- used as special effects today
- action at the same time in two different locations
- used to cause tension, form parallels
- established relatively early in film history
editing rules
spatial discontinuity
jump cut
- editors destroy geography scene
- ignore 180° line
- used as special effects
- confusing for the viewers
- two (or more) almost similar shots next to each other
- shots with the same:
camera distance
is happening in the scene
- screen directions
- direction which characters and
objects should be moving
(from camera view or audience)
- matches eyelines between
characters or objects
- cutting on action
- cut matches with first shots action
- "classical" hollywood style
- mainly used in conversations
ab 01:14 min
- sets context up, in which the scene takes place
- guides the viewers understanding of the action
re-establishing shot
- required to lead back to a previous line of action
not visible or implied to be present
- voices of characters
- sounds made by objects in the story
- music coming from instruments in the story

= any sound presented as originated
from source within the film's world
- narrator's commentary
- sound effects
- background music

= coming from a source
outside story space
internal → on-screen
external → offscreen
- Auteur (= French word for author)

- film theory and basis for author film

- France / define from producer cinema

- director = central of the film

- Mental originator / designer

- author / creative vision
Director as „Auteur“
- Late 1940: 1rst Auteur Theory / Alexandre Astruc

- One big Question

- Issue

- Minimized creativity

- Necessity

- Quote
- In 1950: „politique des auteurs“

- André Bazin / „Cahiers du cinéma“ / French New Wave

- 1954: Francois Truffaut – essay

- Director / form and content

- Europe

- US
Nouvelle Vague
- „Cahiers du cinéma“ focus

- Director league

- Goals

- 1968: Roland Bartes – essay

- 1970: AT and European film

- Change

- Compromise
Film Science
- Collaborative teamwork

- Dogma films

- Polish school

- Dependence

- 1990: digital video
Critics and discussion
- 1950: François Truffaut und Jean-Luc Godard, „politique des auteurs“

- No compromises

- Influence problematic

Alfred Hitchcock „Vertigo“ [1958]

- Auteur politics

- Constructed and commercial auteurs

Woody Allen „Match Point“ [2005]
- In 1950ies: Nouvelle Vague = new French wave

- Late 1950: Movement

- Support

- Propaganda directors

- 1954: François Truffaut - text
French Nouvelle Vague
Howard Hawks „Scarface“ [1932]
Jean Renoir „French Can Can“ [1954]
Roberto Rosselini „La paura“ [1955]
Auteur politics
- Mind set

- Assessment

- Relation

- Plot

- Reproduce

- Transformation

- Worldview

- New technology

- Inspiration

- Actors

- Music

- New styles

- Mid 1960: Highlight

- Effects

Raoul Coutard – A Woman is a Woman
Stanley Kubrik „The Shining“ [1980]
David Lynch „Mullholland Drive“ [2001]
Wes Anderson „The Grand Budapest Hotel“ [2014]
Zack Snyder – Sucker Punch [2011]
Full transcript