I am researching alternative editing styles to
continuity editing. I noticed in many Japanese,
Chinese and Korean films that the majority of scenes
are not "dictated" by the conventional Western
continuity form (establishing shots - shot/reverse
shots - master shots/inserts). For instance Ozu seems
to prefer long takes, cutaways and montage (hardly any
inserts). John Douglass coins the term "Editing by
threes" in his book "The Art of Technique", which
involves shooting each shot with three shots in mind:
the current, the previous and the following. King Hu
seems to do this in "Dragon Gate Inn".
Anyway, I am looking for more resources and evidence
in order to shape (or reconsider) the above ideas. I
am especiallt interested in two factors:
1. How does the editing style in Asian cinema differ
to the Western style (continuity)
2. What are the roots of this significantly different
style (theater? culture? ...)
Catalin
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