It might be handy to ask a film editor, who would know its practical
usage. I've never heard it used anyway except in the Godard sense, but
I'm no expert. Anyway, especially in its sternest application, I'm
still a little fuzzy about how this transfers to post-cinema poetry. I
can quite see that cinema might influence poetry (although Muriel
Rukeyser argues something else, that cinematic language is inherently
poetic). And here examples would be really, really handy.
xA
On Thu, Apr 29, 2010 at 10:01 AM, Robin Hamilton
<[log in to unmask]> wrote:
> <<
> But Robin, I did cite examples for you in an earlier post but you didn't
> comment on them, Here is that post:
>>>
>
> Sorry Jeffrey, my bad -- when I said "examples", I meant examples
> (citations) of other people using the term in the way you interpet it,
> rather than examples (illustrations) of what you understand by the term. I
> thought the context would have made this pretty clear, but I agree that my
> request was ambiguously worded. I already knew what you think the term
> means -- what I was interested in was whether anyone else (or, to be fair,
> who else) understands it in the somewhat restricted fashion that you do.
>
> RH: "It would have been helpful, if rather than simply asserting the
> validity of his definition of "jump cut", Jeffrey had pointed us to some
> examples of this."
>
> To repeat, I agree that you did provide examples (in the sense of
> illustrations) of *your understanding of the term. You still haven't
> instanced anyone else using it in this way, or how far (against the evidence
> of three major dictionaries which I did cite) your sense of the meaning of
> "jump cut" is the predominant or priviledged one.
>
> To summarise what has become a comedy of mutual incomprehension:
>
> JS: Everyone knows that this is what "jump cut" means.
> RH: Give me an example.
> JS: Here's an example of a "jump cut".
>
> <sigh>
>
> Robin
>
> *************************************
>
> "The operative phrase here is “part of an action”. The interval of time is a
> second (as actions can’t last more than a few seconds) so as to produce a
> jilted or stuttered effect. There is no mention of a time interval spanning
> the periods you infer in a recent post. What your references have more in
> common with are “match-cuts”, famously used in Kubrick’s ‘2001”, where a
> shot of a bone flying through the air after being thrown by a caveman cuts
> to a shot thousands of years later of a space satellite following a similar
> trajectory to that of the bone.
>
> A jump-cut is quite different, and can be seen in Eisenstein’s ‘The
> Battleship Potemkin’ where three shots of a stature consisting of three
> lions in different positions are jump-cutted so as to produce the effect
> that there is only one line making the movement. Other jump cuts can be seen
> in the French nouvelle vague films of the sixties— Truffaut, Godard etc. It
> also appears in some Cassavetes films in the seventies. All use the jump-cut
> to cause a second/s long disjunction. None use it to span days, weeks,
> months or years."
>
>
>
>
>
> Original Message:
>
> "Film theorists know precisely what a jump-cut is", "the fairly explicit
> concept of the jump-cut as used in cinema" -- this is what might be called
> the 'Everyone Knows' theory of linguistic definition. It would have been
> helpful, if rather than simply asserting the validity of his definition of
> "jump cut", Jeffrey had pointed us to some examples of this.
>
--
Editor, Masthead: http://www.masthead.net.au
Blog: http://theatrenotes.blogspot.com
Home page: http://www.alisoncroggon.com
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