But Robin, I did cite examples for you in an earlier post but you didn't comment on them, Here is that post:
"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.
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