Dimensions of Film Editing

Kuleshov Effect, Continuity Rhythmic Relations, and Temporal Editing

From before we began production, I knew temporal editing was going to be my main editing style in this two minute opening. This is because this kind of editing allows audience's perception of the time period in which the film is presented to be manipulated. Our film involves a lot of reminiscing periods, so it was a must!

In the first drafts, I had executed this kind of editing by focusing on the appearance of the clips themselves to contrast with one another. Hence, scene 1's digital camera warmth versus the Canon Rebel t51's clarity with color grading applied to bring out colder tones. However, my editing goal shifted to wanting to make straight cuts or transitions between the scenes in general more intentional with the Kuleshov effect. This effect was briefly explored in preliminary research under investigation of Walter Murch's editing theory. 

A video I watched to learn more about the Kuleshov effect and how I could use it in my film.

Walter Murch's editing theory in the sector I explored focused on conveying emotion through the shot duration length/pace of editing. This was utilized in the way long takes are left alone in my film at first to build tension before various short length takes are cut faster in between long takes to convey that the strong emotions are breaking through.

However, the Kuleshov effect adds emphasis to the connection the audience will make to several different takes, instead of one on its own. I tried this here:

A 'pause' button added over scene 1's ending to introduce Pam's character and clarify the purpose of the laptop, as this previously confused audiences.

Kuleshov's effect is applied here by showing two scenes this way with added details like the button and the abrupt pause on Abby's face to highlight the connection between each take. It is similar to a cutaway, that can help reveal what it on the character's mind, but Kuleshov's effect focuses on the emotional reaction induced by the cut, not what it cuts to exactly. In the video above, watching the first scene alone may not develop a sad, mournful tone, but when it is cut to Pam watching the scene with a sad expression, it does arise those emotions effectively!

Other scenes compiled and edited using similar techniques.

The shot of Pam picking up the necklace and then being cut to her trying it on consistently presents the narrative to direct the viewers attention using utilizing continuity editing with shortened shot durations. This is then blended with temporal editing of Abby in the digital camera video they took in an unseen before clip which conveys sadness and distance from the memory associated with Abby and the necklace. It cuts in between the short and choppy cuts of Pam staring at her reflection which portrays the scenes as present versus past time periods once again.

Towards the end of the film, this editing style continues with a low frequency of repeated actions regarding the temporal editing choice so that each flashback has a meaningful effect on the audience's perception on how Pam and Abby's friendship evolved.

The flashbacks are both memories Pam has of Abby on the same couch, but are shot from different angles, clothes, and lighting to contrast the relationship dynamic the girls had near Abby's death. Kuleshov's effect of cutting these flashbacks scenes between this one creates significance on the couch and changes the friendship endured along it.

Short lengths of Pam seemingly 'zoning out' or dissociating (rhythmic relation) add to the development of her character being extremely detached because we barely see her stay focused in the present so far in this opening. She is not fully aware in her surroundings because of the grief she is experiencing from losing her best friend and the editing in all of these scenes combine together in meaning to convey that!