EDITING

EDITING

The long take: the long take involves filming a lengthy sequence without cuts. This is considered to be the essence of filmmaking as it is extraordinary difficult to achieve. The concept of the long take was taken to the extreme by Sokurov, in 2002 in his film ‘Russian Ark’ where the whole film is a long take

St Petersburg's Hermitage Museum is the Russian Ark guarding art and history. Alexander Sokurov's unique tour of the museum, consists of one, 96-minute-long, continuous tracking shot - the longest of its kind in the history of the medium. To have pulled off such an ambitious task proved no mean feat but the film's achievements are not restricted to its technical prowess.
Unmistakably the work of an autonomous talent, the word "director" hardly seems to give Sokurov enough credit. Yet Russian Ark finds each of its 2,000-plus cast and crew rising to the occasion.
After three false starts, the film was captured on the fourth take. In contrast to Sokurov's film, Darren Aronofsky's Requiem for a Dream contains more than 2,000 cuts.
http://www.bbc.co.uk/bbcfour/cinema/features/russian-ark.shtml
 WATCH THE TWO EXAMPLES OF LONG TAKES FROM:
 Atonement (2007) Directed by Joe Wright
 Hunger (2008) Directed by Steve McQueen
Q: Discuss what the function is of these Long takes?
Q: What are the similarities & differences between them?

Montage functions as the opposite of the long take where various images are cut together in a sequence; this challenges the spectator to make meaning from the rapid use of images, relating the images before and after an image to make sense of the sequence.

Watch the Odessa steps sequence from Battleship Potemkin (1925) and its homage from Brian De Palma in The Untouchables (1987)
http://www.kjudge-asfilmstudies.blogspot.com/


Match on action or ‘cut on action’ is a component of seamless editing where a point of action (like handing something to someone) is shot from different angles and cut at the point of action creating a match.