I am dealing with some of the editing issues you are interested in, but,
unfortunatelly, my books and articles are in Croatian language (cf.
http://bib.irb.hr/lista-radova?autor=99715). There is one article in English
in my bibliography (possible to download) that can be of some interest to
you (http://bib.irb.hr/prikazi-rad?&rad=239122).
Hrvoje
----- Original Message -----
From: "Catalin Brylla" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, August 09, 2007 2:42 AM
Subject: Editing and audience's cognitive process
> Sorry for double-posting on H-Film and here. Please
> ignore if you have read it on the other forum.
>
>
> Hi all,
>
> I am looking for concrete examples and theoretical
> concepts on how editing (or other elements of film
> language) can engage/stimulate the audience's
> cognitive process. I am thinking of examples
> especially (but not exclusively) in macro-editing
> (narrative/narration/POV) and micro-editing
> (cuts/transitions/titles/sound effects etc.). A list
> of examples (from the top of my head), which I would
> like to extend, includes:
>
> - off-screen sound, which makes the audience "imagine"
> the source
>
> - use of close-ups to make the audience "imagine" the
> whole (Gestalt principle of "closure'), especially
> when establishing spaces
>
> - the omission of key narrative plot points, so that
> the audience "fills in the gaps" (like in Ozu's 'Tokyo
> Story')
>
> - open endings that make the audience "construct" the
> possibility of an imaginary ending (like in 'Picnic at
> Hanging Rock')
>
> - dialogue sequences, in which the reverse shot is
> omitted
>
> - character reactions showing the back of the
> character, not the face
>
> - camera pans that start with an off-beat element, and
> then pan to the actual on-beat element
>
> - seeing the effect of a certain plot-point-element,
> without seeing the actual element (eg in 'Jurassic
> Park' when the dinosaur approaches the car, but all we
> see is the water ripples in a glass caused by the
> vibrations)
>
> I could think of more examples, but I cannot think of
> a conceptualisation or related theoretical framework.
> Maybe cognitive film studies (along the lines of
> Plantinga and Bordwell), even though my impression is
> that it focusses more on macro-editing
> (narrative/narration). But, I have not yet done wider
> reading on this, so I might be wrong. Any comment
> (from practitioners or scholars) on this is welcome.
> Thanks a lot.
>
> Catalin
>
>
>
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