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.