As the people you canvassed said, Alison, jump-cuts are done by editing out a few frames of film.
I studied film theory for two years before doing my English degree, as I wanted to go into film production. Every day we would watch three films and analyze them in terms of editing, lighting, mise en scene etc. That's why I'm certain my understanding of the term is correct.
As I said to Robin, I don’t know the exact date the term came into existence. I was probably was told, but forgot. But the main thing is that the actual technique was known before the forties.
I’m prepared, though, to accept that Godard used the technique in a new artistic way, hence it being closely associated with with him.
But I still can’t understand how a jump-cut can be used in poetry (let alone poetry before 1900). How would one go about doing a jump-cut in a poem? Would it merely be a form of elision?
Original Message:
Just for the record, and because I was curious, I asked around. I
couldn't find a film person who didn't think "jump cuts" meant editing
out a few frames from continuous action, as in Japanese horror films
or Godard, in order to produce a spooky/unsettling/whatever effect.
Most people seem to think the broader definition of jump cuts that's
been bandied around here is really just bread-and-butter cutting.
xA
|