Editing and Movement Essay

     Much of the genius of film lies in the motion of a moving art form. In order to create a "moving picture" the syntax of editing must be mastered to create a cinematic art form that eliminates unnecessary material. As film scholar Richard Dyer MacCann states, "The opening of a door, a hand, or an eye can bring about a climax as thrilling as a crash of locomotives on the screen." Although movement is rarely appreciated, even slight motion has the ability to arouse kinetic symbolism for the viewer adding to the film's overall emotion and deeper message. In its most basic terms, a film is a series of moving pictures. In order to create a series, these moving pictures must be combined. As actor Phillip Seymour Hoffman states, "The film is made in the editing room." By cutting the master shot, the editor tells his or her own story. Although the film has previously been shot, how an editor chooses to associate thematic elements of the film can create a completely new story than how the plot line is sequentially told. Within, Snatch, Amelie, Across the Universe, Memento, Vanilla Sky, and Donnie Darko, movement and editing techniques are utilized to create meaning in the film and add to their respective thematic messages.

     Movement techniques are utilized within Snatch, Amelie, and Across the Universe to add additional emotional depth to the film's thematic messages. For example, Mickey's first fight with Gorgeous George in Snatch displays how the hyper-macuslinity of the gangster film genre contrasts with the femininity of the characters to demonstrate how masculine and feminine characteristics are not defined by gender. Both in lateral movement and extreme close ups, derogatory terms are associated with
Mickey as the camera pans to several shots of him being thrown down by Gorgeous George. In addition, anticipatory shots are used to leave the audience waiting for the fulfillment of the affects of violence only to pull away. Combined together, these motion techniques add to the speed and anxiety of the scene. The little regard for human life that everyone in the shot has expect for Mickey, demonstrated by his restraint in the fight, displays not only that masculinity and femininity are present within both genders, but also that feminine characteristics do not have to be weak. Mickey is the character to win the fight and comes out on top at the end of the film as well. Amelie has a similar utilization of movement techniques to portray the world through Amelie's eyes as she escorts an elderly blind man down the street. The lyrical movements emphasize the beauty around her as well as the beauty of the action she is doing while the shaky hand held camera movements follow the path through Amelie's perspective. By focusing on these moments of existence, the film emphasizes the importance of not passing over moments that leave resonance. In addition, close up tightly framed camera movements and tracking dolly shots follow Amelie showcasing her confidence to take charge

of the situation. Her surrounds are blurred as the emphasis is on the dominant of Amelie. Although she is a female lead, Amelie demonstrates a confidence in her journey to her own happiness often associated with masculinity adding to the emotional depth of this thematic element also displayed in Snatch. Across the Universe utilizes movement as a catalyst to emotion as well. Stylized shots and music, often seen in the musical genre, are used as a convention to symbolize the emotional depth of the characters. While

Strawberry Fields Forever is playing, Jude's cigarette smoke moves upward in a medium tightly framed shot entrapping him in the shadows and loss of his girlfriend (kinetic symbolism of this moment). A point of view shot pans to the canvas contrasting the darkness with bright red strawberries (hearts) being pinned on the board. The long tilt shot of the strawberries dripping down the canvas as Jude's face blurs in the background creates the strawberries as the dominant and adds to the separation of love and hurt Jude feels over the loss of Lucy (his girlfriend). Movement within Snatch, Amelie, and Across the Universe adds to the emotional complexity of each respective thematic message.


     Editing techniques are utilized within Memento, Vanilla Sky, and Donnie Darko to expand upon the emotional complexity of each film in defining their thematic message. From the first scene of the film Memento, a reverse motion parallel edited shot creates the idea of what is means to trust memory, which defines truth, when it is largely unreliable? Through un-developing a polaroid and the motion of the photo fluttering forward and back, a deeper representation of the unreliability of Leonard's own mind

can be seen. Although photographies trigger memories, for Leonard's condition the photographs can only trigger so much. Reverse motion is similar to Leonard's own memories. No matter how much he tries a developed photo can not stick in his mind because the memory will constantly fade (just like the photo). The jump cut to the black and white sequence transitions back to prior events. The editor created an un-chronological film to display the plot points as Leonard learns them, so the viewer can see the affect memory plays on a person's identity more effectively. Within Vanilla Sky, editing is utilized to showcase how David's confusion and paranoia originate from fear within the sub conscience mind. The

flash forwarded scene, when David drives around the empty streets of New York City, foreshadows later events and creates the reasoning behind David's actions. Establishing shots jump cut to David's reactionary shot of confused expressions as he watches the empty streets of New York pass him by. David's unbeknowst isolation within his own life is now manifested in his dreams. Dreams are defined as being controllable within Vanilla Sky, yet fear appears to be largely unreliable in a person's defitnion of rational thought. Within Times Square, a 180 pans around David in his paranoia of isolation as it moves to a birds eye view of him running the opposite direction. A montage of juxtaposition between close up shots of David's face contrast long and medium shots of the various advertisements of Times Square. Finally, within Donnie Darko, a statement is made on the irony of a person who is perceived insane, yet is the only person to see the truth. When Donnie realizes he can time travel, jump cuts begin with the close up of Donnie's eye overlayed with found footage of the events which occurred within this alternative reality. A dolly tracking establishing shot of the woods follows a car to a parallel edited frame of Donnie sitting in the same spot he woke up at during the first shot of the movie. His laughter and body language represent his choice to save the world and his family by traveling back

in time. A thematic montage of the events which occurred leading up to this night creates the heroism of Donnie up to the climatic end of a medium shot of him viewing the world falling apart around him. Although Donnie is the only one who sees the truth, he will never be remembered or validated in others mind's as the hero. In a bittersweet ending, Donnie saves his family at the cost of his own life. This makes a statement on what it means to see the truth and how external validation is not needed for heroism to occur. It was enough for Donnie to have his own validation in knowing the truth and having the courage to act on it. Editing is utilized within Memento, Vanilla Sky, and Donnie Darko to explore the role these techniques play in creating thematic elements of each film.

     Editing and movement shape a movie's ability to portray the depth of a film's emotional and thematic complexity to the viewer by the intentions of the director. Although often passed over, these techniques expand upon existing footage to create a film of meaning, if done correctly. For instance, within Across the Universe, movement is utilized to create a greater emotional loss for Jude over Lucy. In addition, Memento utilizes un- chronological editing techniques to establish the large role memory plays on identity. Although two seemingly different topics, movement is needed for editing and editing is needed for movement. As such, the interdependency allows for a fluidity in film that crosses all topics of thematic messages. Film is a cinematic art form with layers of technique collaborating to portray the desired affect to the viewer.

Vanilla Sky

Within Vanilla Sky, editing is used to demonstrate the confusion and paranoia of David's dream to illustrate the role fears play on the sub conscience. When driving along the empty streets, a series of sequence shots create a feeling of confusion for David. Establishing shots of his surroundings (the empty streets, sidewalks, a red stoplight) transition to reaction shots of David's confused demeanor. The flash forward foreshadows later events and establishes the idea of entrapment within a world which was created by himself. What's interesting about dreams, particularly within Vanilla Sky, is they are defined as being controllable, yet some elements of the sub conscience mind are uncontrollable. Sometimes a persons fears aren't even realized or faceable until they are confronted in the sub conscience. David creates a "lucid dream" to escape the inevitability of confronting his fears, yet they always come back to him. This first scene and David's confusion demonstrates the unpredicability of dreams, and their ability to create based on sub conscience thought. As the scene continues into Times Square, the camera pans in a 180 around David focusing on the dominant of his face as he begins to run in the opposite direction afraid to confront the reality of isolation. Juxtaposing long, medium, and close up jump cuts of David running and various advertisements in Times Square create a feeling of paranoia and fear of being isolated in this new world. David is isolated in his own

life, yet he fails to realize it because of the flashing lights of his surroundings (Times Square) in a rich

lifestyle. A low angle circularly panning around David in the Christ crucifixion position cross cuts to the parallel shot of him waking up from the dream in a similar position. Not only does this foreshadow his death, but it illustrates the true fear the dream caused David. Feeling trapped he screams for a way out and the ability "to open his eyes" and see the faults of his own life. Editing demonstrates the confusion and paranoia of David's dream in contrast to the role of fear on the sub conscience.

Within Vanilla Sky, editing is used to discover a person's defined meaning of happiness. Throughout the film, David is asked the question, "What does happiness mean to you?" A series of sequence shots jumping between dialogue to reaction shots illustrate David's realization of what he created by entering the lucid dream. Although he desired to escape and create his own perfect world, all he was able to create was a fantasy. Yes, he has positive memories of it all, but is it happiness if it isn't real? In reality, the lucid dream is nothing more than a more efficient blinding. The jump cuts to flashbacks of his lucid dream move with the upward motion of the elevator as the floors pass behind him. The voice over of the tech support man adds meaning to the fast cut of these scenes. In addition, parallel editing fades from the scenes in the "lucid dream" to the real world examples that inspired them. By creating this nostalgic thematic montage, David's character is able to separate reality from the dream. Although their is so much beauty in the world which he created, remembering the unreality of it causes David to choose to "open his eyes". Happiness for David was in

the real world. Life, even a dream, is not all sweet. A person must go through the sour as well. It takes David his experience in a dream to realize what it truly means to live.Vanilla Sky utilizes editing to create a personal meaning of happiness.

Memento

Memento utilizes editing to explore how memory defines a person's truth, yet it is largely unreliable. Leonard suffers from a condition known as anterograde amnesia, which inhibits his ability to create new memories post his accident. The films begins with a reverse motion parallel edited shot of Leonard un-developing a polaroid, re-loading an already shot gun, and returning the glasses of the corrupt cop, Teddy, who he just killed. In addition, this scene is a flash forward as the jump cut to the black and white story line of the film transitions back to prior events. The unique editing of the film allows plot points to be portrayed as Leonard learns them adding emphasis to the meaning of memory on a person's identity. Utilizing flash forward showcases that allow the film is not edited chronologically ideas are portrayed in relation to their thematic importance allowing for multiple interpretations (just how memories of the same event can be interpreted multiple ways.) As Andy Klein, film critic, states, ""Memento” is a movie largely about memory — the ways in which it defines identity, how it’s necessary to determine moral behavior and yet how terribly unreliable it is, despite its crucial role in our experience of the world." Within the opening scene reverse motion and tilt angels create a feeling of disorientation and confusion just as Leonard feels constantly. The establishing shot of the polaroid allows the audience to receive a first impression of the un-reliable narrator. The audience begins to realize as the film progresses that allow Leonard has tattoos, notes, and long term memories which he defines as his truth, what really makes them true? Although Leonard's condition is an extradordinary circumstance, memory can never be truly reliable from anyone because it is defined as an element of 

perception, and perception is never consistent. Klein furthers the notion of Leonard being an unreliable narrator confessing that although his memories are intact, "there’s no reason to believe that "intact" is the same thing as "accurate."" Photographs trigger memories. The reverse motion fluttering of the polaroid being un-developed demonstrates the unreliability of Leonard's own mind. Although his pictures serve as a way of remembering, they can only trigger so much. Reverse motion suggests how Leonard's memories work. Even if he tries to go back through a memory again, reverse his way through it, he still won't have the capability to remember. The memory will fade just as easily as the polaroid. Memento's editing adds meaning to the truth and unreliability behind memories. 




In addition, Memento utilizes editing to emphasize the relationship between memory and its importance in allowing redemption from grieving. Within this scene, the audience finally pieces together the truth (or interpretation of the many ways the film can be perceived.) Through the dialogue close up shots to jump cut flashbacks of the distorted memories of Leonard's past, the torture which Leonard endures as his memories blend with Teddy's is created. He is a man whose sole purpose in life is to find John G., the man who murdered and raped his wife, and to a certain degree Teddy is right. Leonard can spend the rest of his life searching for John G., but he will never be able to remember the revenge necessary for him to move on. As Klein states, "Grief is an emotion largely based on memory, of course. It is one of “Memento’s” brilliant tangential themes that relief from grief is dependent on memory as well — and that is one of the chief hells our unfathomable hero is subjected to." The audience pities Leonard in his constant search of retaining a memory of revenge which is impossible for him to recall. Leonard's decision to make Teddy his next culprit emphasizes recognition of his fate, no matter how brief. Although he will never be able to feel the relief of gaining revenge after the loss of his wife, it gives him something to live for, so he continues to search. The brilliance of the editing lies in intertwining a plot line of black and white sequences prior to colored ones, yet they are transitioned throughout the film through jump cuts. Prior to the scene above, Leonard's polaroid of Jimmy intertwines the two plot lines. It is appropriate that the two plot lines would be intertwined in the developing of a photograph considering the significance of the first scene with the parallel editing of a similar shot. Killing "John G." (Jimmy) should bring Leonard relief, but only so much can be remembered from a photograph when the memory behind it slips away. Piecing together the story as Leonard does allows the audience to move along with his story in a more realistic context to his condition. Memento's editing allows the audience to realize the importance of memory in relieving grief. 

Works Cited

"Everything You Wanted to Know about “Memento”." Saloncom RSS. Web. 9 Nov. 2014. <http://www.salon.com/2001/06/28/memento_analysis/>.

MLA formatting by BibMe.org.

Across The Universe

        

Within this scene of Across the Universe, movement is utilized to portray the emotion of anger and loss of Jude, Lucy, and Max. The musical genre and this scene use stylized shots and music as a convention to symbolize emotion. From the first frame, Jude's cigarette smoke moves upward in a close, medium, tight shot to symbolize Max's heartbreak of feeling his girlfriend slip away. His face is completely in the shadows of darkness entrapping him within the emotion of the moment. Using a panning point of view shot, the camera moves with Jude's head turn to a new scene of him pinning the strawberries upon the canvas. The sharp contrast of the darkness and the bright red strawberries appearing like hearts, both within the song and on the canvas, serve as kinetic symbolism for Jude's heart being broken. The movement of the strawberry dripping on the canvas as the long shot moves toward the audience elongating the canvas and blurring Jude's face serves as an additional convention of separation from love. Within the same scene, a extreme close up tightly framed shot of Lucy conveys similar emotions. Again she is entrapped within the loss of Jude and Max within the darkness and shadows around her as a single tear moves down her face. A movement as simple as a tear rolling down a face can convey so much feeling. In addition, the montage uses found film of the Vietnam War layered and flickering over Lucy's face to portray the kinetic symbolism of her thoughts and worries for her brother. A similar tactic is used within the scene with 

extreme tightly framed close ups of both Jude and Max's faces. Their faces pan in a cyclical motion as jump cuts of found footage of bombs going off coincide with the movement of strawberries being thrown at the canvas. All of this red serves as the kinetic symbolism of the character's anger, heartbreak, and the violence of the war. "Strawberry Fields Forever" uses movement within this scene to portray the emotions of anger and loss for the characters.

The opening scene of Across the Universe uses movement to foreshadow the plot and portray Jude's isolating emotion. An extreme loosely framed long shot finds Jude's back on the beach in complete isolation. The only movement is the waves rolling in as Jude sits in complete stillness. The loosely framed shot usually suggests freedom, but Jude could not be more constrained by his loss of Lucy. The water represents the emotion and deep psychological reflection which Jude seems to be experiencing as he reflects on the good times and now separation he has with Lucy. The camera cuts to a medium close up shot as it slowly zooms in with Jude's head turn towards the audience. The dominate of the darkness of Jude's sweatshirt and hair contrasts greatly with the cooler colors around him. The only motion in the close, tight shot is Jude. It allows the audience to focus on what he is feeling through the haunting lyrics conveying Jude's emotion. Eventually reaching the extreme close up shot, the audience finally sees the tightly framed constraint of the character. Although not aware of who this character is, the audience can understand his pain through the intimate close up into his facial expression movement. The scene cuts to a new song "Helter Skelter" which is increasingly more violent and intense. The movement becomes violent with

the song representing the kinetic symbolism often used in the musical genre. Waves move from right to left suggesting a psychological abnormalcy as layered cuts foreshadowing the riot crass with the waves.  Having the waves crashing down represents the demise of Jude and Lucy's relationship and the angry which comes in ending a relationship. Using movement, the opening scene foreshadows plot while portraying Jude's emotions about losing Lucy.