I'm tangentially interested in transitions in poems, and Very Interested in
transitions in filmmaking, especially having edited the videos of Robin and
Patrick reading their poems for *Frisky Moll Press*.

In the iMovie software on my mac I chose from 6 transition devices and
quickly settled on "blackouts".  However, for the actual *ellipses*, (i.e.,
removing the film bit I didn't want) I softwarely used the old technique I
saw my father use with his 16 mm film-splicing machine:  cut out a section
of film, and then splice (join) the two cut ends with applied heat.  You can
see the effects of the iMovie ellipses and "blackout" transitions in Robin's
and Patrick's video readings.  For both videos we used 2 little videocams
set in different places and selected the "best" results and joined them:
http://judithprince.com/section/142974.html

"*Jump Cuts are anathema to Classical Hollywood continuity editing, but
feature prominently in avant-garde and radical filmmaking*."

The preceding's from an explanation of Jump Cuts, the sixth given for
transitions devices in editing, from Yale University in 2002 (certifying
authority:  Film Studies Program).  The full explanation follows this
paragraph.  Accompanying it are photos from films, and if you have Real
Player and the appropriate codec software installed, you can click on a red
icon to see the transition at work in the film:
JUMP CUT

An elliptical cut that appears to be an interruption of a single shot.
Either the figures seem to change instantly against a constant background,
or the background changes instantly while the figures remain constant. See
also elliptical
editing<http://classes.yale.edu/film-analysis/htmfiles/editing.htm#11816>
, steadicam<http://classes.yale.edu/film-analysis/htmfiles/cinematography.htm#23576>
.*. *Jump cuts are anathema to Classical Hollywoodcontinuity
editing<http://classes.yale.edu/film-analysis/htmfiles/editing.htm#22186>,
but feature prominently in avant-garde and radical filmmaking.When the
French Nouvelle Vague films of the 1960s made jump cuts an essential part of
their playful, modern outlook, many directors from around the globe started
to use jump cuts --either creatively or in a last ditch attempt to become
"hip". More recently, jump cuts are more commonly associated with music
videos, video or alternative filmmaking, like Lars Von Trier's Dogma films.
Here is an example from *Dancer in the Dark* (Denmark, 2000).

     <http://classes.yale.edu/film/videos/JumpCut-dancer.wmv>

Jump cuts are used expressively, to suggest the ruminations or ambivalences
of a character, or of his/her everyday life, but they are also a clear
signifier of rupture with mainstream film storytelling. Rather than
presenting a film as a perfectly self-contained story that seamlessly unfold
in front of us, jump cuts are like utterances that evidentiates both the
artificiality and the difficulties of telling such a story.

`````````````````````

From (scroll down to the 6th device, Jump Cut):
http://classes.yale.edu/film-analysis/htmfiles/editing.htm#51529

Judy

On 2 May 2010 08:02, Alison Croggon <[log in to unmask]> wrote:

> If you have to use a film term, what's wrong with "cut", which would be
> both more accurate & less pretentious? Using jump cut makes as much sense as
> a film editor saying he cuts in iambic pentameter. I think it's confusing,
> but hey.
>
> Back to watching Pasolini ...
>
>
> On 02/05/2010, at 9:16 PM, Tim Allen <[log in to unmask]> wrote:
>
>  Once again, have to agree with Bob here. Like him I think you've all been
>> wasting a lot of words talking about two different things. Been entertaining
>> though.
>>
>> Tim A.
>>
>> On 2 May 2010, at 02:15, Bob Grumman wrote:
>>
>>  Berrigan and Ashbery lack naturalistic continuity because
>>> of their use of jump-cuts.  Which you may call non sequiturs
>>> or specimens of parataxis if you don't like plain English, and
>>> you don't believe, as I do, that what I call the jump-cut in
>>> poetry is more radical than the classical parataxis (although
>>> I could easily be wrong in this, not being too familiar with poetry
>>> before 1550 or so, especially poetry not in English).
>>>
>>> Even if poetry does lack "naturalistic continuity," surely
>>> conventional poetry has some kind of continuity a
>>> "jump-cut" might be said to break?  And I would claim that
>>> I'm surely not the only one using the term in poetry as
>>> I do.
>>>
>>> --Bob
>>>
>>