Editing Techniques

A jump cut is a cut that has the effect of jumping in time between two shots (normally with the same
framing) that usually have the same subject. Georges Méliès is known as the first user of jump cuts with his
film The Vanishing Lady (1896). When continuity editing is being used, jump cuts are avoided using the 30
degree rule. This means that in a scene, when cut is made, the sequential shot will change at least 30 degrees
so that it is made distinctly different. When this rule is not followed, jump cuts can be unintentionally created
which can give a montage effect.

An action match is a technique used for continuity editing in which the two shots are related by an action
that is occurring on screen. An example would be someone walking through a door and the camera shows
them first going through on the side that it is being opened and then the other side as they walk through.
Action matches are an essential part of continuity editing as it makes actions seem seamless. They are usually
done mid-motion as this reliably draws attention away from the cut and towards the action. However, they
are also done with a subject leaving a frame followed by them appearing or entering the next frame/shot.

An eyeline match is when a character is seen visibly seeing a subject and the audience are then shown it
(matching the trajectory of their gaze). An early example would be in The Birth of a Nation when there is a
shot of a character looking at a letter followed by a shot of the letter. Eyeline matches let the audience
directly into the perspective of a character. Eyeline matches are effective at revealing a subject in a scene as
they automatically create a relationship between the subject and an already established character in the
scene.

Shot reverse shots are Rotating shots between two or more subjects. An example would be in a conversation
where shots are switching between two people. It is an example of both continuity editing and an eyeline
match. Shot reverse shots are effective at keeping an audience engaged in a conversation, the technique
makes it easy for the audience to follow a conversation as we follow whose turn it is to speak. It makes
conversations easy to follow due to the generally used framing – usually mid/mid close ups are used meaning
there are no distractions within the frame.
A Graphic match is a cut that joins two shots in which the subjects are of a similar shape and size in the
frame. An example would be a shot of a vertical pencil to a tower – both are the same shape, but the shot of
the tower would be a more extreme long shot so that they are of a similar size in the frame. An early example
is from Citizen Kane - the establishing shots of the fences around the castle. However, graphic matches are
not usually used like this as they are effective at providing a transition between scenes which usually involves
a change of location. For example, the famous use from 2001 – the transition from the bone to the spaceship.
In this case, the transition made the massive jump in time and space seem obvious and seamless.

Parallel editing consists of having two or more scenes during one sequence in which the scenes are switching
back and forth (they are usually happening simultaneously). The first use of parallel editing was in The Great
Train Robbery (1903). An example would be a person having a conversation whilst a car chase is happening
simultaneously (there would be a continuous switching between the two scenes). Parallel editing is effective
at relating two sequences so that each one is made more dramatic due to its contrast with the other. Parallel
editing is also effective at establishing the meeting of two subjects in a scene as this technique can often
climax with the two subjects from each sequence ending up in the same place. However, parallel editing can
also play with time as well as space. For example, it would be effective in combination with a flashback to
show the narrative/character parallel with events in the present and the past.

A Montage is a sequence that condenses and conveys a lot of information. Usually it depicts the
development of someone or something over a period. An example would be a child running and there would
continuously be cuts in which every following shot the child would be older and running faster. It is
essentially manipulates time so that a sequence is not in real time so that only we are shown what is
important to the scene; the audience is given a general message through a combination of shots that point
this message.

Ellipsis editing is when sequential shots are connected, related by their meaning/subject. An example would
be someone sees a costume in a shop window and in the proceeding shot they are wearing that costume. It is
an example of continuity editing. It is effective at communicating a jump in time as it simply implies the
process that a character went through between the two shots. It is often used at the beginning of a scene or
as a transition between scenes as it may establish a new subject which is key in the following sequence.
The 180 degree rule is a guideline used in cinematography that states the camera should stay behind a line
when focused on one character and will go onto the other side of the line when focusing a character or
subject opposite to the character. An example would be in a conversation where the camera reverse cuts
(crosses the line) from the right-hand side of one character to the right-hand side of the other, (looking at the
other character). It would never go on the left-hand side of a character in the scene as it is can create visual
confusion. The 180 degree rule is used to maintain continuity as when the rule is broken, it often feels like
the audience are being brought somewhere entirely different (whether in space or time).

CGI stands for computer generated imagery – (moving) images and effects that are produced from computer
software. The first use of CGI was in Westworld (1973), however this was 2D. The first use of 3D CGI was in
the film’s sequel Futureworld (1976). It is usually to create imagery that would not be possible or too
expensive to produce in a physical context. CGI is very effective at creating environments that would be
impossible film in due to either physical or economic limitations. CGI is very common in modern blockbusters
as it extends the level of escapism a film can offer to increasingly new levels.

Motion capture the process of recording people or objects whose movement will be put into a computer
where their appearance will be changed. It uses 3D tracking systems to capture the motion. The earliest use
was by Max Fleischer in 1915 who created a Rotoscope, a way in which animators could trace over frames of
live action film to give cartoon characters a more human fluidity. Walt Disney then popularized this by using
the same technique in Snow White and the Seven Dwarfs (1937). The first use of computer-generated motion
capture was in 2000. Motion capture is used when a costume can't be, whether for price reasons or physical
limitation - motion capture goes beyond just being a digital costume, as it can produce appearances that
would be impossible via material and makeup.
A freeze frame is when a single frame is shown for an extended period on screen. The first use of a Freeze
frame was in Hitchcock’s Champagne (1928). It is commonly used to capture and sum up what a character
has and/or will do throughout a film – freeze frames are defining moments in film. It is this reason they
generally stay onscreen for at least the duration of the shots leading up to them. Freeze frames are most
commonly close ups of a character as it is their facial expressions that are effective at expressing a general
emotion. The facial expressions captured are usually mid-sequence and a strong reaction to something. Due
to them grinding the action of a scene to a halt, they effectively (and almost always) end a sequence.

Slow motion is when time is slowed in a film for dramatic effect or simply because it looks cool. The first use
of slow motion was of a horse galloping in 1878. It was used to determine if all the horse’s hooves were off
the ground whilst it was galloping. Typically, when a shot is going to be in slow motion, it is filmed at a higher
frame rate so that when it is slowed down, it is at a frame rate consistent with the rest of the film. Slow
motion is always used so that the audience give more of their attention to something than otherwise
possible. When something is in slow motion, more weigh is given to it. However, this weight is not usually to
do with the plot as slow motion contributes more effectively to the style and stimulation of a film.

A split screen is when the screen is visibly divided by to show at least two separate shots, it typically involves
separate subjects who are usually in separate locations. When used to show characters it enables the
audience to see the actor's continuous actions or reactions. It has been used since the 1890s with an early
notable use being in George Albert Smith’s ‘Santa Claus’ (1898). It is often used in scenes involving telephone
calls as it makes the characters on either side of the phone seem equally important as subjects. In modern
cinema split screens are common in comedy as due to the way it splits the screen into an impossible
perspective, it heightens the sense of self-awareness which is more common in comedy.

Wipes are When a shot is ended by being wiped offscreen by the next shot. The shape of the wipe can vary.
The earliest use of a wipe was in George Albert Smith’s ‘ Mary Jane's Mishap’ (1903). It is generally used to
show there has been a shift in space/setting or time. However, in modern cinema it is commonly used
ironically as it is seen as a fruitless technique. The most famous use is in the Star Wars films. In this case
it is effective as the films are very large in scale meaning that the transitions should often be obvious so
that the audience can see that we are transitioning from one place to another. It makes the two scenes
seem less physically connected and therefore further away from each other. This increased sense of
distance adds to the scale of the films.

A dissolve is a transition that essentially gradually makes a new shot come onto the screen on top of the
current shot which decays. It usually tells the audience that time has passed and/or there has been a
change of location. It is also commonly used in montage as it can produce the effect of passing over a
subject. In the context of a montage, the effect of passing time and location, is enhanced with the use of
dissolves as they represent the same thing. Dissolves generally last 1 or 2 seconds although they are
often made longer in the context of establishing a new subject.

Fades are similar to dissolves in that they have decay whatever is currently onscreen. However, fades
transition to or from a single color (which tends to be black). They are almost always at the end and/or
beginning of a scene or sequence as like dissolves, they tend to represent a shift in time and/or location.
They tend to set a slower pace than dissolves as they close or open a scene meaning that a scene has
already developed in pace and has slowed down to a close, or that it is starting and is yet to develop its
pace.

Continuity editing in films

A Trip to the Moon

Dissolves are used effectively throughout ‘A Trip to the Moon’. They are used to produce an effect of
moving from one place to another. They tell the audience that there has been a change of location and
that perhaps some time has passed. Dissolves are effectively used once the characters arrive on the
moon to introduce and dissolve away from the stars and planets that watch the characters as they sleep
on the moon. The dissolves effectively tell the audience that time has passed, and the stars have come
out.

Hard cuts are used in combination with action matches as they are effective at giving an effect of
continuity – the lack of transition makes time feel continuous. Essentially, they tell the audience that
two shots directly link together with the same subject. They are more effective at producing the effect
of an eyeline match.

Eyeline matches are used to establish subjects in this film. This gives more weight to the subjects (such
as the rocket ship) as the audience are told on a human level (eye contact) to look at the subject.

Match cuts are also used effectively to create continuity so that the audience can easily understand the
relationship between many shots.
 Jump cuts play an important role in A Trip to The Moon. It is used effectively when the rocket hits the
moon. This is because it communicates a clear continuity of the rocket's arrival on the moon to the
audience. It effectively creates a jump in time as it implies to the audience the rocket did not
immediately arrive.

The Great Train Robbery (1903)

Action matches are used to great effect throughout ‘The Great Train Robbery’. For example, the outlaws
are shown jumping on the train, this is followed by a shot of them entering the train from the inside.

Hard cuts are used between every shot. This gives the effect of the film being in real time. This tells the
audience that what they see is linear – it is continuous.

Parallel editing is conceived within this film. It serves as a tool for setup and suspense. It essentially
establishes two scenarios so that when they join to become one scenario, so that the climax is more
impactful. It has the audience focusing on two simultaneous perspectives which extends the meaning of
either. The audience are shown greater depth – by being shown either narrative (rather than being told
of either one) creates a larger capacity for emotional investment from the audience

THE BIRTH OF A NATION (1914)

In The Birth of Nation, tints are effectively used throughout the film to stimulate emotional associations
from the audience. This is shown early in the film where a Sapia tint is used to show an old and better
America as well as its heroes. By contrast a grey tint is used to evoke the audience with the idea of a
modern (for 1915), more depressing and less civilized America. This directly coincides with Griffiths
racist views as the Sapia tint is used to glorify slavery. A red tint is used effectively later in the film to
represent the ’heroes’ and their glorified anger.

Fades are effectively used to transition from the credits. They let the audience know that the story has
begun and makes them absorb the narrative naturally.

An Iris effect is used early in the film along to present the past – it creates the effect of looking back into
the past or ’the good old days’, like a memory. Griffith essentially presents the idea to the audience of a
mythical past which also represents his pro-slavery views.
There is also a use of eyeline matches throughout the film. This effectively creates a strong narrative as
it communicates to the audience who is important and creates a deeper level of attention and empathy
for those characters.

There is an effective use of parallel editing during a rescue sequence in which the pace of the editing
increases as the climax comes. This increases the intensity the audience feel as the two ongoing
sequences (essentially a damsel in distress and her rescuers) use each other to make the other more
dramatic. It is as the two sequences come closer together, that the pace of both increases. This
structural lead to a climax increases the intensity whilst it happens. A red tint is also used in combination
with the protagonists. This is effective as it puts the idea of anger and justice into the audience’s head.

Intertitles play an essential role in the narrative as they act as self-explanatory transitions between
sequences/shots. They make the audience feel like the story is being told to them, slightly like a book.
Hard cuts are effectively used to cut to and from the intertitles; they make them unforgivingly part of
the narrative which makes the audience pay strong attention to them.

Citizen Kane (1941)

Dissolves are used effectively throughout Citizen Kane. For example, the establishing shots of Kane’s
castle. With each dissolve the audience are closer to the castle. This has the effect of reeling the
audience into the narrative rather than hard cuts which would have more of a yanking effect.
Essentially, they don’t make the narrative feel forced.

Fades are also used at the beginning of the film. This is effective as it simply lets the audience know that
the story is beginning. It makes the transition to a narrative feel natural for the audience.

The establishing shots of Kane’s castle also demonstrate the role of editing in establishing subjects. The
sequence demonstrates that establishing shots (especially of locations) are effective when lengthy and
not cut so soon. This is because with an increased shot length, the audience are given time to soak in the
environment or subject. Therefore, the basis for the narrative seems more expansive and clearly
communicated.

Graphic matches are used occasionally in the film. They are used explicitly in the same opening
sequence of Kane’s castle. It is used with shots of fences – as each graphic match happens a more
extravagant fence is shown. This acts as a metaphor for the Kane who lives a progressively more
extravagant life throughout the film. Although at this point, the audience are not made aware of the
character or his arc, it still implants this theme of extravagance.

In the opening sequence a jump cut is used to transition the audience from outside to inside the castle.
This is effective as it follows the pacing and order of how the subjects are introduced; it makes the
sequence feel natural. The 180-degree rule is also effectively used in this sequence as it makes the
audience feel like they are on a linear path as the camera slowly moves into the castle from one side.

The 'A marriage like any other' scene demonstrates a range of editing techniques effectively...

The scene opens with a dissolve and overlay which effectively gives way for a flashback of the narrator's
younger self. Time then moves chronologically as it jumps through time, first using a whip-pan dissolve
to make the jump in time apparent to the audience. As the jumps in time continue, the scenes the
audience see are eventually made shorter. The 180 rule is used throughout the whole sequence. This
effectively makes the focus on how the environment/characters have changed over time.

Mad Max

The opening shot effectively establishes the protagonist and the setting of the film. The OVS long shot of
Max establishes to the audience that we are seeing things from his view in the expansive environment
of the wasteland. The fact that in this opening shot, the car takes up a large part of the screen crossing
the left grid lines shows the audience that cars/vehicles will play a prominent role in the film. The
positioning of the car creates a leading line so that the audience naturally focus on Max. The fact that
him and his car are facing the wasteland highlights the films environment. The fact that in this shot the
camera lowers its angle and eventually cuts to a close up OVS of Max as he eats a lizard he just stomped
on creates a sense that he is dangerous and also potentially in danger due to the way that the camera
crept up on him. Once he notices that he is in danger the shots become shorter as there is an urgency in
what he is doing. After he drives off, he is tailed by a gang of vehicles that all pass on the right grid
vertical grid line. This tells us that they are central in the scene and the fact that as they pass the
camera, they are above it suggests that they are in a position of power.

I noticed that the when the action begins longer shots are used as the action approaches and shorter
and closer ones are used as it occurs. This fast editing effectively keeps the pace extremely high as the
action lasts for extended periods of time. I also noticed that as a character enacts something, the
camera will zoom in on them or in many cases they will become closer to the camera. This effectively
made whatever the characters or subjects were doing much more intense to the audience. There was
also effective uses of slow motion, usually before something violent would happen, this created a
moment for the audience to pause and soak in what was on screen before pushing them back into the
relentless pace of the action.

The was an extensive use of eyeline matches during all the action. This was effective in giving the
audience direction amongst all the chaos of the scenes. I found that during the eye-line matches, the
shots of the characters face were a least as long as the shots of what they were looking at. This was
effective at keeping the action lasting longer – the action would become much more nullifying and less
impactful if we weren’t shown it from the characters perspectives. By seeing their reactions, the
audience automatically attach more to the action as they empathize with the human face.

There is an effective use of cross cutting in many of the scenes as two separate action sequences are
simultaneously followed by the audience. This usually helps to intensify each sequence as each one is
drawn out which inevitably builds tension. The colors are very saturated, this visual style effectively
makes everything seem intense and that much crazier to the audience. CGI is used throughout the film;
this is so that the world can be fully realized to a further potential than the original films. Although not
used as much as many modern action films, it is still used for large objects and props that would
otherwise be too expensive to produce.

Soviet Montage
Montage: A type of editing in which there is a series of shot linked together through a theme or time
joined to create a third meaning (intellectual montage).
In 1920s Russia, the post-revolution civil war continued. This caused an economy collapse meaning
Russia was not exposed to the rise of cinema. They only had old Griffith films which were studied with
the purpose of creating effective propaganda. This was all the knowledge of films they had to go on and
so soviet montage was created.

Montage is a combined use of:

Metric editing is editing used to stretch or thin time, depending on the focus. For example, in the Odessa
steps sequence the baby falls down the steps for significantly longer than it would in real time. Another
example would be from ‘Strike’ - the shots of the lion statues. The shots are quick which represents the
sudden awakening of fear - sleep to shock, indicating a fast-revolutionary movement on the way.
Rhythmic montage is creating continuity from the maintained pattern in which subjects are shown.
Usually this involves showing shots in a sequence at equal length. For example, in the Odessa steps
sequence from Battleship Potemkin, the rhythm of the soldier's footsteps is the same as the baby carriage
falling down the steps.

Tonal editing essentially uses shots for their emotional value. It aims to evoke certain emotions from the
audience, mainly from the use of the shots used. However, it can be achieved simply by exposing the
audience to a shot for longer so that
The Kuleshov effect consists of a thesis and an antithesis shown one after the other resulting in a
synthesis. Essentially two ideas smashed together to create a new meaning. A relationship is
automatically formed. It uses juxtaposition of images to create new meaning.
In the original Kuleshov experiment the same shot of the actor was cut to after different subjects were
shown. The first shot was of some soup, this was meant

Battleship Potempkin’s Odessa steps sequence demonstrates montage very effectively as it glides over
multiple narratives with no main characters. The effect of continuity is also broken when the 180 degree
rule is broken as the audience are not shown the faces of the military; most of the sequence is from into of
the military but the rule is effectively broken when there are shots from behind the military looking down
the steps. This is so that the audience feel alienated from the military.

Rhythmic montage is used effectively in this sequence as the rhythm of the soldier's footsteps are the
same as the baby carriage falling down the steps – they proportionally change with each other. This
creates tension as the two ideas are made equal in the audience mind - equal time is given to them.

Simultaneity is used very effectively in this sequence as the narrative does not stay with one subject or
character. Instead the audience are shown a range of events happening within the sequence: a boy being
trampled, people falling over and others hiding. This is very effective as it creates suspense due to the
conclusions of each event being drawn out and building off of each other as they are all part of a same
larger event.

Pudovkin's (Soviet film director) 5 editing techniques are:

Contrast is when two scenarios are cut between in one scene or sequence to highlight the
difference between them.
Parallelism is when two unrelated scenes are cut between to on parallel features.

Symbolism is when the audience are shown something that hints at a ‘deeper meaning’ that
may relate to the real world.

Simultaneity is when suspense is created by cutting between simultaneous events

A Leit Motif is a theme or idea associated with certain characters that crops up throughout a
film.

Creed
The montage from creed is used effectively to show the audience a large leap in time. This is
achieved by its condensing of time and character development as the audience are shown
snippets of training and dialogue.
Slow motion is effectively used at the climax of this montage to expand and extend the
satisfaction the audience feel. It also lets the audience know that the montage is concluding.
The slow motion makes the audience feel uplifted as it draws out the protagonist's moment of
motivation.
Almost every cut is to a different location or setup, this discontinuous rhythmic editing effectively
builds a rising effect. The audience are shown an overwhelming number of setups with the
same idea in mind – training. This ‘overwhelming’ effect translates to the audience as
excitement due to it being made comprehensible by the recurring subject.
The music in this montage is implemented very effectively; it slowly builds as time passes and
dictates the audience’s emotional reaction. For example, when Rocky is shown being sick from
chemo, sadder and softer music is used. This is also effectively used to vary the pace so that
the whole montage isn’t just build-up.

Editing in TV
Lost
In the Lost opening sequence editing is used to effectively setup the shows action. For
example, there is setup with the shots of the unstable plane. There is soon after a
reminder - the person walking by it. There is finally a payoff – the person getting
sucked up by the engine resulting in an explosion. This very whole event happens in a
small amount of time because on a TV episode there is less time than a film, so the
audience must be kept interested by many conclusions to maintain a narrative
satisfaction. This is especially true as with Lost (which aired only on broadcast TV) they
could have been tuning in at any point in the runtime. The audience are made to feel
constantly stimulated by the events as a longer setup is not available in one TV episode
due to the time restrictions. However, there is still enough time to effectively introduce
subjects. This is effectively shown in the opening as there are longer shots of Jack, the
protagonist; the opening shot is of his eyes; this effectively communicates to the
audience that what we are shown is from his perspective. This is so we spend time with
the character, he becomes the audience's sole narrative focus – it makes the audience
automatically empathize with him. This is re-enforced when he finds the crash as almost
all the time is spent focusing on him and his reactions. When Jack arrives at the plane
crash, the supporting characters are all established in a very short amount of time; if
more than second is spent on them and we see their face, they are a supporting
character. This is once again because of the time restrictions of TV.
At the end of episode 2, very mysterious and suspenseful is used over equally mystified
facial expressions. This is effective as it creates a very strong tone to leave the
audience with so that they will want to tune in for the next episode.
The editing in lost and tv of its era is also structured around ad breaks; The narrative
would have often been cutoff at a crucial or cliffhanging moment. This was effective as it
kept the audience engaged so that they would want to continue watching after the
break. Essentially the flow of the show was effectively disrupted so that the audience
would be left wanting to re-enter that flow.
Flashbacks are also effectively used in lost. Hard cuts are mostly used to transition to
the flashbacks with the same subject/character in frame as the flashbacks are
specifically about one character. This is effective as the audience are made very aware
that the continuity has been interrupted and they are being shown the past as the
present is also on the island.
Lost’s previously on sequence uses a build of eerie strings and harp. This dictates the
pace so that when the episode starts the audience have already experiences a fast
paced build up. The end of the previously on sequence uses cliffhanging dialogue to
leave the audience feeling the need to finish the narrative. Although the dialogue is not
plot related it es a strong atmosphere that Not necessarily plot related but theme and
atmosphere related. ends on zoom –reels you in. Voiceover non diegetic, thud effects –
exciting

TV Title sequences
The title sequence from Lost is simply a large slowly rotating text of the show’s name. It
is accompanied by eerie strings. This is very effective as it strongly establishes the
mysterious tone of the show. As the title is very simple, it is effective at implanting the
basic idea of being lost and its curious connotations to the audience. The fact that the
title sequence is very short also plays to its advantage as it does not give the audience
time to think about it; it simply establishes a strange atmosphere then drops the
audience into the narrative.

The title sequence from The Wire (season 1) consists of a wide range of shots that
carry and represent themes from within the show: drugs, crime, surveillance and the
police. The shots effectively transition as they often move the same direction creating
very clear continuity which keeps the audience from being confused amongst the rapidly
changing shots. An effective example of this is when there is a shot of a policeman
walking; the camera pans right with his movement, this cuts to a shot of a car moving
right. This naturally leads the audience eyeline so that the shots are more impactful, and
the cuts are effectively less evident.
Jump cuts are effectively and constantly used in this title sequence. For example,
someone is seen buying heroin, followed by them tightening their arm which cuts to the
drop of the arm and the hand with the heroin falling onto the ground. These jump cuts
essentially follow the Setup-Reminder-Payoff formula that is essential in almost any
narrative. In this montage context it must happen very fast. However, it is not so fast
that the audience don’t get the idea; it effectively implants the theme of drugs and self-
destruction into the audience’s head.
The sequence ends with an unconventional and effective fade to black; the final shot
puts the audience in the perspective of a CCTV camera. The screen becomes glitchy
and soon fuzzes out to black. This effectively ends the sequence as it ends with the
song and clearly marks to the audience that now the narrative of the show will begin.

Battlestar Galactica's title sequence begins with a wide shot of a CGI utopian sci-fi
city. This use of CGI is effective as it strongly suggests and establishes the sci-fi genre
for the audience. CGI is used effectively throughout the intro. This is partly due to the
fact the shots are rhythmically quick. This excuses the fact that the CGI is not extremely
impressive as the audience are not left time to observe the quality of it. This allows the
CGI to act expansively as it often takes up a lot of the frame and usually depicts large
settings. Dissolves are used constantly in this intro. They effectively pair shots to create
a theme or idea. For example, the first two shots are of the utopian city and a dissolve is
used to transition between them. A fade to black and then to sinister looking spaceships
is then effectively used as it establishes a different idea of antagonists. A dissolve is
used from the shot of the sinister spaceships to a shot of an evil looking character
piloting a spaceship. The dissolves maintain a theme whilst the fades effectively
establish a new theme or idea. The audience are kept from being confused due to how
shots with certain directional movement are sequenced. For example, there are shots of
spaceships moving right followed by a shot of a person falling to the right. This is
effective as it practically links the shots so that they do not feel disjointed.

The title sequence from Dallas (1978-1991) uses a variety of editing techniques to
effectively create a montage that sets up the show by introducing the characters and the
setting. The sequence opens with relatively lengthy shots of the city; dissolves are used
to transition between them. The fact that the shots are quite long effectively establishes
the setting of the show to the audience. The dissolves effectively preserve the theme of
the city between the shots so that there is a thematic continuity. This is soon dissolves
to more shots of the landscape, this time slightly more rural. These shots transition
between each other in a constantly wiping split screen. This consistent, steady rhythmic
editing is effective at drawing in the audience due to its trance-like effect. The wiping
transitions stop with the character introductions. However, the split screen is preserved.
This is effective as the hard cuts between each split screen clearly distinguish each
character to the audience. With the character introductions, the screen is split into three
with the shots on either side of the middle becoming a freeze frame after a second.
These freeze frames effective introduce a feel for what the characters are like and the
mood they give to the audience. The freeze frames essentially sum up the characters.
The fact that the middle shot in the split screen carries on playing is effective as it
makes the sequence feel continuous to the audience; it maintains the ‘life’ of the intro as
it continues the rhythm. The last character introduction dissolves to a long aerial shot of
a country house. The dissolve is very effective as makes the movement of the aerial
shot feel natural in contrast to the static shots of the characters. The dissolve reminds
the audience of the setting before fading to black. The fade effectively communicates to
the audience that the sequence has ended; after the long aeriel shot, the paced is
slowed and the fade is appropriately used.