Rules+and+Norms

= Links to Films Referenced in The Story of Film chapters 1-2  =

= Key Terms: Editing, Continuity Editing, Parallel Editing, 180 Degree Rule =

**Life of an American Fireman** is a short, silent film Edwin S. Porter made for the Edison Manufacturing Company. It was shot late in 1902 and distributed early in 1903. One of the earliest American narrative films, this the original edit (1903) depicts the rescue of a woman and child from a burning building, showing us the same time frame twice. First inside the burning house and then outside the burning house. A later intercut edit (1903-1905) illustrates an early example of developing continuity editing, cutting back and forth between the inside and outside action creating a more seemless flow to the action. Life of an American Fireman Edwin S Porter USA 1903

==== It is during this fertile period of experimentation that rules or as Mark Cousins suggests norms such as the 180 Degree Rule is devised and appears to naturally delineate space in a way that an audience can easily conceptualize. ====
 * [[image:eyeb-filmstudies/180rule.png caption="180rule.png" link="http://www.youtube.com/watch?v=HdyyuqmCW14"]] ||
 * (click the diagram for a simple explanation) ||

Check out [|Stanley Kubrick deliberately breaking the 180 Degree Rule]. This appears to have a thematic function as well as functioning to disorient the view. What do you think?

= **[|D. W. Griffith], Parallel Editing, Continuity and The Godfather** =

==== Parallel editing (also known as cross-cutting), is a film editing technique of continuity editing that establishes the relationship between two subjects by cutting from one to the other. One of the most important effects of the parallel edit (but not a necessary one) is that of sim ultaneousness, suggesting that two events occur at the same time. By employing this sequence of alternating focus, the filmmaker is able to place subjects in relation to one another, allowing complex and subtle relationships to establish themselves by way of cinematic proximity. Kenneth Dancyger notes, "[this technique] links stories and supports the narrative" (38). ====

==== In D. W. Griffith's 1915 film The Birth of a Nation, cross-cutting is famously employed to establish relationships and drive the narrative. However, as Michael Rogin observes, "parallel editing didn't simply contribute to storytelling; it [brought forth] juxtapositions, contrasts, contrasts, and dismemberments" (158). Griffith's understanding of the importance of editing in establishing relationships on screen produced complex and dynamic filmmaking. ==== [|The Birth of a Nation - Assassination Scene] from [|Andy] on [|Vimeo].

==== An example of this style occurs during the scene of Lincoln's assassination in the Ford Theatre. In this instance, parallel editing is used to increase dramatic tension in service of the narrative, rather than to complicate it. The camera cuts between shots of the stage, the President's viewing box, and close-up shots of the Stonemans (who are in attendance). While all of the subjects inhabit the same theatre, Griffith uses editing to map out the seperate spaces. The emphasized relationship between these spaces is used to increase the tension within the scene. The various locales within the theatre are intercut with shots of John Wilkes Booth preparing to assassinate the President, allowing the audience to connect and relate the characters and their locations to the eventual, violent climax. source: [|https://film110.pbworks.com] ====

==== Parallel editing links different events and space and creates a relationship between them for the viewer. This sequence from The Godfather provides an example of parallel editing. One event--the christening--is intercut (or crosscut) with other events--a series of murders. The implication is that these events are occurring simultaneously or at roughly the same time (it's unlikely that the murders would all be occurring at precisely the same time). The narrative effect of the parallel editing is to juxtapose these two lines of action. On the one hand, this juxtaposition is ironic, since Michael professes to renounce the Devil and yet we see that he has ordered a series of murders, which is clearly a cardinal sin. On the other hand, however, there is also a resonance between the two lines of action, namely, the creation of "family." The christening introduces a new member into the family of the church, and the murders effect the consolidation of the Corleone crime family's hold on power. source:[|Oliver Gaycken] ====

The Godfather Francis Ford Coppola USA 1972

= __Resources__ = Readings: The Story of Film 1 Technical Thrill (1895-1903) review previous reading The Story of Film 2 The Early Power of Storyl (1903-1918) **Links to** ** Films Referenced in The Story of Film chapters 1-2  **

Film: [|The Birth of a Nation] Reading: Closely Watched Films: Chapter 1 The Biginnings of Film Narrative: D. W. Griffith's The Birth of a Nation

Production: 180 DEGREE Rule eccentric porthole assignment