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Tico Romao

@Tico_Romao • 2,910 subscribers

A connoisseur of fine action sequences. Action Scenarios: The Essential Guide to Action in Film: https://t.co/pBhrE308e9

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One of the purest instances of overlapping editing can be found in John Woo's Face/Off (1997) earlier on in the boat chase. Sean Archer (as Castor Troy) pursues Castor Troy (as Sean Archer) and collides with a police patrol boat. The collision is rendered in 10 shots, with 8 overlapping edits and only one insertion shot.

One of the purest instances of overlapping editing can be found in John Woo's Face/Off (1997) earlier on in the boat chase. Sean Archer (as Castor Troy) pursues Castor Troy (as Sean Archer) and collides with a police patrol boat. The collision is rendered in 10 shots, with 8 overlapping edits and only one insertion shot.

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The earliest instance of overlapping editing that I have discovered so far, and excluding earlier instances of event repetition, can be found in Lev Kuleshov's The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924). The story event is Mr. West trying to fire a gun at a criminal. The 20 second moment consists of 5 shots, with 3 overlapping cuts and 1 jump cut. Event inconsistencies likely derive from the restaging of action rather than multi-camera shooting.

The earliest instance of overlapping editing that I have discovered so far, and excluding earlier instances of event repetition, can be found in Lev Kuleshov's The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924). The story event is Mr. West trying to fire a gun at a criminal. The 20 second moment consists of 5 shots, with 3 overlapping cuts and 1 jump cut. Event inconsistencies likely derive from the restaging of action rather than multi-camera shooting.

52,441 görüntüleme

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Another memorable instance of pathetic fallacy can be found in Akira Kurosawa's Yojimbo (1961). After learning that Gonji the tavern owner has been captured and tortured, Yojimbo returns to the village to confront the the gang responsible for the act. The winds that swirl behind him are the source domain, that are expressive of his rising anger, the target domain.

Another memorable instance of pathetic fallacy can be found in Akira Kurosawa's Yojimbo (1961). After learning that Gonji the tavern owner has been captured and tortured, Yojimbo returns to the village to confront the the gang responsible for the act. The winds that swirl behind him are the source domain, that are expressive of his rising anger, the target domain.

181,137 görüntüleme • 7 ay önce

In Alfred Hitchcock’s Rope (1948), social cognition explains how viewers infer that the characters Brandon Shaw and Phillip Morgan are gay through social schemas and tacit personality theories. Because the Motion Picture Production Code strictly prohibited portraying "sex perversion," Hitchcock relied on subtle cues that bypassed literal depiction. Viewers utilize top-down processing, applying cultural stereotypes of the "refined aesthete" to interpret Brandon and Phillip’s cohabitation, shared intimate history, and lack of female interests. Social cognition transforms these subtextual hints into a coherent social identity, allowing the characters' sexual orientation to be understood without explicit acknowledgment.

In Alfred Hitchcock’s Rope (1948), social cognition explains how viewers infer that the characters Brandon Shaw and Phillip Morgan are gay through social schemas and tacit personality theories. Because the Motion Picture Production Code strictly prohibited portraying "sex perversion," Hitchcock relied on subtle cues that bypassed literal depiction. Viewers utilize top-down processing, applying cultural stereotypes of the "refined aesthete" to interpret Brandon and Phillip’s cohabitation, shared intimate history, and lack of female interests. Social cognition transforms these subtextual hints into a coherent social identity, allowing the characters' sexual orientation to be understood without explicit acknowledgment.

113,524 görüntüleme • 6 ay önce

One of the most noticeable patterns that emerges when analyzing Sergei Eisenstein's use of overlapping editing is the degree to which he employs different camera setups. For the coronation scene in Ivan the Terrible - Part 1 (1944), 13 shots were used to depict the pouring of coins, 12 of which consisted of different camera setups. The story event itself runs for 1 minute and 24 seconds, with 5 overlapping edits and 5 insertion shots.

One of the most noticeable patterns that emerges when analyzing Sergei Eisenstein's use of overlapping editing is the degree to which he employs different camera setups. For the coronation scene in Ivan the Terrible - Part 1 (1944), 13 shots were used to depict the pouring of coins, 12 of which consisted of different camera setups. The story event itself runs for 1 minute and 24 seconds, with 5 overlapping edits and 5 insertion shots.

15,498 görüntüleme • 7 ay önce

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