# data[].attributes.headline
CASE STUDY 1: Verna Fields - (Jaws) - HORROR/THRILLER

# data[].attributes.subject
CASE STUDY 1: Verna Fields - (Jaws) - HORROR/THRILLER

# data[].attributes.body
At the beginning of the film, a teenager called Chrissie is being attacked by the shark, and becomes the first victim. During her mauling, there are cuts to Tom, another teen, who is simply relaxing on the beach. It really contrasts because of the difference in the scenes; Chrissie is screaming and crying, and then it cuts to a POV shot from underneath the water, at Chrissie's feet. With Tom, he cannot even hear her and promptly passes out. The differences between them intensifies the attack when it cuts back to it. As a horror film, these techniques and quick cuts make the story more intimidating (shark POV), as well as make the viewer uneasy (the contrast).  Conventions of a horror film are ‘nightmares, alienation, vulnerability, death, fear of the unknown, and loss of identity.’ This scene follows these conventions as the film can play on someone’s fear of sharks, Chrissie being alone in the water, the quick POV shots of her feet show that she is physically vulnerable, five people die in the film, and the fear of the dark ocean, the unknown.

Fields was responsible for Jaws’ most famous scare - the severed, decaying head. The angle and position of the shot is because of Spielberg, but the decision to use the lengthy shot and the music overall did belong of Fields. An actual scream is a part of the soundtrack in that sequence. It’s obviously a jump scare, but since the music lasts so long, you can’t tell exactly when it’s going to happen. What makes this better than typical horror film jumpscare is the long build up; it makes you doubt that there is even going to be a jumpscare, because it seems so obvious.

When Hooper is arguing to inject the shark to try and kill it, the film cuts to the trio building the cage. Spielberg and Fields are aware that they have not got time to listen to Brody’s argument, so they have a sequence of shortcuts of them building it. This skips a boring and unnecessary part of story, especially when they have to fit in the rest of the action/horror scenes with the shark animatronics. Not wasting time on the argument and construction of the cage allows for the film to be paced well during the second half, which the filmmakers can use to build suspense later.

Sometime during the 1970s, at the height of the influence, Fields said that editing should be invisible. She always let the director lead her, even when she was so popular, leaving it to the director’s image, as it should be. A lesser editor would have taken control to take credit for everything. Her goal was to help the crew and make the film the best it could be.

# data[].attributes.headline
CASE STUDY 2: Walter Murch - (The Godfather) - CRIME/DRAMA

# data[].attributes.subject
CASE STUDY 2: Walter Murch - (The Godfather) - CRIME/DRAMA

# data[].attributes.body
Walter Murch, when editing, would time the screenplay as it would help him get a feel for the film, to understand what the director wants. He would visualise everything on the page.

The restaurant scene in The Godfather has no music, and half of the scene is in italian - this was a decision made by the other editors, and because of the lack of sound in the scene, Murch proposed that they add the sounds of trains in the background at certain points, each increasing in volume as the tension of the scene grew. He made this decision based on his own knowledge of the area, as the railway was very loud and would shake the ground. Since the Godfather is a mafia based crime thriller, growing the tension here is important to make the viewer feel a sense of dread. Conventions of a crime drama are alcohol, illegal substances, weaponry, police, robberies; the protagonist is usually male, and there tends of be a scene that involves an event, like a party or a auction etc. The restaurant scene has alcohol exchanged between characters to show that they are tough and a hidden gun that is used to kill.

One of the men in the scene had been tasked with shooting two other men, and he enters but doesn’t actually kill them, he talks with them for a short period of time beforehand. As they talk, the camera zooms in on the shooters face and a train in the background screeches as if the brakes are on or it’s turning a corner. The screech grows loud as it zooms, and the shooter kills the men at close range. The sound stops after the gun has been fired. Music and sound is always important to any piece of television or film; without sound, the scene would feel flat and wouldn’t have the same impact. The loud and scrap screech of the train can make the viewer feel the thrill of the scene.

He follows the rule of six, which is the priority order of editing to him. The highest is emotion; as the viewers will focus on the actor the most when watching a film. Murch believes that emotion “is the thing that you should try to preserve at all costs.”  The second is the story, the plot needs to progress to keep the audience interested in it. The third is the rhythm, the timing. If the rhythm of the editing is off, then the audience can be thrown off and become confused. A bad cut can disorientate the viewers. The top three are the most vital; Murch described them acting like “protons and neutrons”. The other three are eye tracing, 2D placement on screen, and the 3D space.

# data[].attributes.attachment_link.title
Walter Murch on Editing the Restaurant Scene from The Godfather | On Editing

# data[].attributes.headline
CASE STUDY 3: Lee Smith - (Dunkirk)  - WAR/THRILLER

# data[].attributes.subject
CASE STUDY 3: Lee Smith - (Dunkirk)  - WAR/THRILLER

# data[].attributes.body
The first thing Lee Smith checks for when wanting to edit a film is if he will get on well with the director. During the interview for Dunkirk he already knew the director, so it was relatively simple. He worked with Christopher Nolan on Inception, and Interstellar. Nolan wanted the film to be about the suspense to reflect the real events, so the film did not have much dialogue at all. The music continues to grow more intense as an air jet flies past at a high speed towards a beach. Smith knew that it was the visual storytelling that was going to make the film worth watching. War films themselves are generally more dark and dirty, like it actually war. They tend to show a battlefield, explosions, death and injury, and will want to be a realistic as possible. Dull colours are applied and when an explosion happens on or off screen, the sound is slightly muted as it would make your ears ring.

Because of how technical the film itself was (the air, land and sea segments) Smith and other crew/people unrelated to the film watched the edited film every friday to check if it was understandable; and every friday they would inuit new ideas and restructure it. During these weekly checks they could see where they went wrong, and how such a little point in the film could derail it completely; they could also see what small change they needed to make it stronger.

His biggest challenge was making sure  that the audience could keep track of what was going on within the film, especially because of the segmentation. There was a part of the film where the audience are supposed to get an emotional release, and it had to be at a specific point, otherwise you would not get the rush. Smith and Nolan tested it. He wanted it to be so much more real, so they had to keep the suspense up constantly, and they couldn’t let it drop. Smith also had to go at the music differently than other films as the cameras picked up too much noise. Normal he would edit the music into the sequence as he went, but he had to practically go about it as a silent film, then add the music after.

# data[].attributes.body
In this scene, Dean, with the help of the archangel Michael, is fighting Lucifer. Zooms, jump-cuts, and eyeline matches are using throughout the fight. The production of the fight itself was very difficult to film and the scene was heavily edited with techniques and special effects.

CGI is used for Michael’s wings, and when Lucifer dies. The effects are the best that they had ever been previously because this moment is a turning point narrative wise. Two supernatural beings are finally having the fight that has been anticipated for years, and it fill in fantasy conventions, which are unearthly effects and colours.

A zoom was used when Lucifer is kicked down to show the impact and to keep the speed to the scene fast as this is the grand finale of everything the main characters have fought for over the first 13 seasons/years.

When Dean and Lucifer are fighting hand-to-hand, the camera cuts quickly to different close ups of the hits they land on each other. The quick cuts are there to make the viewer feel worried or scared because either one of the fan favourites could die. There are sound effects used upon contact of a sort of echoed blast. This is because the characters fighting are primordial beings and would definitely pack a punch. It there is remind us that these guys are not human. The beat used can really make the heart race as you are not sure who is actually going to win or lose.

The eyeline match is used when the blade is dropped on the floor, showing the viewer that it’s going to be used later (slightly like Chekhov's Gun). CGI is used again for the smiting, with a lengthy close up on Dean’s face as he burns. Dean is about to lose the fight, but the blade is thrown to him to stab Lucifer, and he wins the fight. The pace is very fast, but easy to keep up with. The church it is set in is very dark and gloomy, and the viewer sees it in the wide shots that the screen cuts to during the fight. The shots linger more on them when they aren’t fighting up close, so you can see the background and the damage their fight has caused.

At the very end of the clip, and the last scene of the episode, Michael has taken control of Dean, and the scene ends with a freeze frame and zoom. The scene itself isn’t scary, but it is supposed to intimidate and make the viewer come back next season. Michael’s stare does this, as he looks right at the camera, using gaze, and breaking the fourth wall. The frame simply gives off the impression that Michael is going to be the antagonist for the next season, and is going to be around for a while to cause trouble for the main characters and the world.

# data[].attributes.attachment_link.title
Supernatural S13E23 - Dean Says Yes To Michael & Gets Possessed By Him

# data[].attributes.body
BBC Sherlock S01E01 - Crime Scene - CRIME DRAMA
Edited by Charlie Phillips

In this scene, Sherlock is analysing a crime scene. Eyeline matches are used to show the viewer what Sherlock and John are looking at. When it is shown, it’s in a close up, which either a freeze or slow motion, and a zoom with text on the screen. This type of editing is used a lot throughout the show, and is meant to represent how Sherlock’s mind works. Sherlock himself is a detective known for how enhanced his mind is and how he views the world, the techniques here are normally used in horror films to build suspense and anxiety, or used in dramatic situations.

The text on the screen, close ups and zooms are used in this scene with no background music to just show that Sherlock can understand someone completely from one look. The lack of music shows that this is a typical scene for the show, as there is no uniqueness here. The only suspense and drama in the scene is that this is the first crime scene investigated in the show, just after the meeting of John and Sherlock.

When John is investigating the body, the zooms and slow motion aren’t used. The camera cuts to a wide shot of him over the body. Sherlock is testing him, and it is obvious that they aren’t on the same level, analysis wise because of the difference.

# data[].attributes.body
Establishing Shots - Harry Potter (all films)

An establishing shot is usually at the star of a scene, and it used to show the audience visually where the scene is taking place. This is normally a wide shot.

Harry Potter uses them all the time. This is most likely because it is a magical fantasy world, so the environment is one of the fictional world’s key factors.

Cutaways And Cut-ins - 300 (2006)

A cutaway is when a filmed action is interrupted by something new, as it it cuts away to something new. It is usually followed by a cut back to the original shot.

300 does this during the fight scene. This is to show the chaos of the fight and the consequences of Leonidas’ actions. Slow motion is also used here.

30 Degree Rule - The Lord of the Rings: The Fellowship of the Ring (2001)

The 30 degree rule is a film editing ‘guideline’ that states that the camera should move at least 30 degrees relative to the subject between shots. The camera movement must stay on one side of the subject to follow the 180 degree rule.

LOTR uses the 30 degree rule for dramatic effect, making it seem like Isildur is being hit repeatedly. It is used to shake the audience and add some chaos.

Jump-cutting (purposeful) - Little Shop of Horrors (1986)

A jump cut is when two shots of the same subject are taken from camera positions that are different only slightly if at all. This editing gives the effects like jumping forward in time.

This is used in Little Shop of Horrors to show how long the characters are waiting. It is done a few times, showing multiple jumps in time.

Shot/Reverse Shot - Spider Man (2002)

Shot reverse shot is a common film technique. This is where one character is shown looking at another off screen character, then the other character is shown looking back at the first.

This is used when Norman is talking to his alter ego in the mirror.

180 Degree Rule - Underworld (2003)

The 180 degree rule is a film editing ‘guideline’ that states that the camera must stay on one side of a 180 degree axis when filming a scene with two characters or a character and an object. If this rule is broken, it is called shooting in the round, and can disorientate the audience. Following the rule allows the audience to connect with the actions on screen and off screen.

This is a basic guideline, and Underworld uses this on a staircase that cuts into a larger room. The camera is in the corner of the stairs, so it can pan to move with Selena, then the camera is in the room, but on the same side.

Eyeline Matching - Spider Man (2002)

An eyeline match is a film editing technique that provides continuity. This technique is based on the fact that the audience will want to see what a character on screen is looking at. The camera will star on the character, who is looking off screen, then cut to whatever it is they are looking at.

This shot is used dramatically as Norman is scared of whatever it is he is looking at. The shot goes back and forth multiple times whilst getting closer to the subjects.

Match Cuts (graphic cut and match-on-action) - 2001: A Space Odyssey (1968)

A match cut is a cut between two scenes, but the end of the first scene at the beginning of the second are matched by a similar action or object.

The Moonwatcher throws a bone into the sky and the scene cuts to a spaceship when the bone is horizontal.

Seamless Editing - Back to the Future (1985)

Seamless editing, also known as continuity editing, is when you combine two related shots of footage to create a smooth piece of film; this can also be done with a sooth long take. This is to direct the audience’s attention to aid them in following the plot and/or action on screen.

Back to the Future has seamless editing when Doctor Brown is hanging from the clock. It cuts between his foot and him trying to hold on.

Montage - 127 Hours (2010)

A montage is a film editing technique where a series of short cuts are in a sequence that only lasts a short time. This technique is usually used to show the passage of time.

127 Hours has Aron collecting a bunch of stuff from some cupboards, among other thing. There are some cuts, but not many.

Juxtaposition (life/death) - The Godfather (1972)

Juxtaposition in film is when two or more shots are combined to create a idea or state of mind in the audience. The shots will need to be opposites in nature.

In The Godfather there is a church baptism going on and in a different area there are multiple people being shot and killed.

Cross-cutting - Inception (2010)

Cross cutting in an editing technique used to show scenes/actions happening at the same time, normally in the same location. Cutting back and forth between two scenes suggests they are happening at the same time.

Inception has a car chase and a fight scene in a hotel. In this clip specifically, some of the cuts are match cuts.

Parallel Editing - Forrest Gump (1994)

Parallel editing is when two or more scenes are cross cutting, but give a different impression. This technique shows events happening simultaneously but in different locations.

In Forrest Gump there are two scenes edited together, one being a car chase, and the other being young Forrest running from bullies. The scenes are similar in nature but involve different things. Forrest eventually outruns the bullies and the police car loses whoever it was they were chasing.

Freeze Frame - Thelma & Louise (1991)

A freeze frame in film is used to enhance the scene and show an important moment. The term comes from live stage performance.

There is a freeze frame right at the end of the clip, when Thelma and Louise hold hands and drive off the cliff together. The frame freeze when they are in midair to give the feeling that they got what they wanted, it was their decision.

Slow Motion - The Matrix (1999)

Slow motion is a film technique where the scene is slowed down, normally for dramatic effect. Action fight scenes may have some slow motion moments scattered for the same reason.

The slow motion in the Matrix is famous for being one of the first to do this kind of thing. It is done in the film to show how good and skilled Neo is.

Split Screen - Requiem for a Dream (2000)

A split screen is when the screen is cut into segments, normally vertically in half. This is done to show the audience that the segments are happening at the same time, but it loses the immersion. It is normally done for montages or character reactions.

The split screen in Requiem for a Dream was done to show both sides of the characters perspective, so the audience  could follow both of the characters on opposite sides of the door. The split in the other parts in meant to establish how cut off and isolated the characters are.

Wipes - Star Wars: Episode IV - A New Hope (1977)

A wipe is a film transition where one shot replaces another by moving from one side of the screen to another.

Wipes are generally used in films, because some would argue that it is a sign of a poor editor. However, others say that it fits Star Wars’ style and audience.

Dissolves - Psycho (1960)

A dissolve is a film transition where one shot replaces another by transparently fading into the next shot.

The dissolve in Psycho is used to slowly fade away from Norman’s creepy star at the camera and into the next scene. The dissolve is to give the feeling that he is still watching, or is aware of the events it dissolves into.

Fades (up/down, black/white) - Thelma & Louise (1991)

A fade is a film transition where a shot is gradually replaced with a blank image, like a black/white screen. Scenes can also fade to black/white, then fade into another shot from black/white.

After the frame freezes at the end of the clip, it fades to white. The fade to white gives the impression of a more open ended story, and a fade to black gives the story a sense of actual ending.