The editing within Dr Caligari is unique and innovative because it reflects the unsettling atmosphere of the film. Iris wipes are frequently used to make the transition between scenes much smoother which continues the fraught tension. This technique is adapted and utilised throughout the film’s entirety and many versions are used. In this particular scene, a diamond shaped iris wipe is used to unsettle the audience by showing Cesare. Since we can only see him within the setting, fear is successfully achieved because everything else is blacked out. A fade is used to cut in and out of the scene, giving a smooth transition which is significant in retaining the tension created by the dark, ghoulish lighting. In this particular sense, the iris wipe is vital in keeping the scene as fluid as possible since it can be considered one of the most anticipated and exciting scenes so needs to run smooth. Since we are engaged in the film, the idea of darkness surrounding us ensures verisimilitude because not only does it make us feel part of the film but it represents how we are viewing the film from Francis’ mind and observing his story.

However, iris wipes are also used to represent a flashback. When Francis; the narrator retells the story of the fair, an iris wipe is used immediately after to physically show us a difference in scene which can represent the time period difference; signalling a flashback. The cut emphasises that this is a flashback because the camera’s iris is shut slowly then re-opened. This can represent the reopening of Francis’ ‘memories’ to narrate what happened that day. The physical change in scenes reminds us that there will be clear differences because we can see the change on screen between both the two scenes but also the different time frames. This is vital in showing that there is a clear difference to not confuse the audience as to whether the flashback is actually happening now. This the film does not follow a clear linear, and the flashback demonstrates that there is a time difference. The fluidity of this transition was very significant to show that there is actually a difference because it should not confuse the audience.

There is a lack of intercutting within the whole film due to the difficulty occurring with manual cutting, changing and addition of the film. This meant that it relied on fades and iris wipes to smoothly transition each scene to the next which was important for a horror film but especially for one which builds up tension. However, since the film is silent there are period where scenes cut to title cards which narrate and explain what is going on. This gives us background knowledge and also separates each scene clearly which is useful to ensure that the audience know what is happening and when. This is important because it ensures that we fully understand Francis’ story. As he is the narrator, we trust everything that he tells us without the dialogue to prove this.

Shots vary in length to keep the audiences engaged. For example, when Cesare is first introduced to the audience; the shot lingers on Dr Caligari and Cesare to ensure that the audience realize how significant the characters are. There is also the element of delaying the anticipation, as the audience eagerly await to see how the onscreen audience will react to Cesare. But the shot is dragged out so the tension builds as the audience continue to wait for the reaction. However, when it finally cuts to the audience, the frame only lasts a few seconds before flitting back to Caligari and Cesare. This could perhaps represent the significance of the two characters by getting the audience to focus on them. This is an edited and shortened version of the essay because of the high word count, the rest ids avaibile on my blog but not for film role 1 category*

One of the most arguably innovative editing aspects of Breathless is the jump cuts which seem quite random but help to elevate the film and give it character. An example of this comes from the opening scene, where Michel converses with a woman getting changed. As the scene continues, jump cuts are frequently used to join random fragments of the scene together. Sometimes, this does not necessarily make sense but keeps the audience fully engaged and on edge because they are interested due to the unawareness of what will happen next.

This scene in particular draws the audience in immediately because they want to know what will happen next. By using such random jump cuts, they are kept on their edge of their seat at all times and aware that anything could happen next. Although they seem aimless and very random, they play a pivotal role and purpose in retaining a methodical, yet chaotic and sometimes messy pace of the film. Jump cuts are also used to represent the reckless nature of Michel. After shooting the police officer, a jump cut is used to show him carelessly driving in Paris. This abrupt change can show that he does not care about getting caught and the chaotic jump cut used to transition the scenes can represent his careless nature. Since Michel kills the officer for almost no apparent reason, this careless behaviour is reflected in the editing style as an abrupt and considered unnecessary jump cut is used to transition scene. This is significant because it develops Michel’s character

In general, the editing style of Godard influences the drop in continuity editing in favour for jump cuts, longer shots and a wider focus for cinematography and editing opposed to narrative and plots. This has an interesting impact on films because it sets them apart from similar genres and plots by ensuring a unique visual style and look.

At the time, most popular Hollywood films adopted a typical, continuity style of editing. Godard breaks this convention right at the start of the film which begins with alternating shots of a close-up of Michel and another close-up of a woman. By using close-ups, we get the impression that the characters are positioned close to each other because of the proximity we are viewing them from. However as wide shots are introduced instead, we see that they are positioned quite distant. This may confuse viewers, who are used to the simple and easily perceivable style of continuity editing used by many Hollywood films. Another unique element of Breathless’ editing is the varying shot length. Certain films adopt a usual shot style, by utilizing fast cuts to break up shots or slow, drawn out shots which build tension. This is a shortened and edited version of the essay, the full version remains on the blog*

i will be comparing these films based on how the serial killer genre has changed between 1968 and 2007

similarities:

both based on true events

The Boston Strangler is the name given to the murderer or murderers of 13 women in the Boston, Massachusetts area during the early 1960s. 

The Zodiac Killer is the pseudonym of an unidentified serial killer who operated in Northern California from at least the late 1960s to the early 1970s.

Guillermo del Toro “all the formal elements become quasi-hypnotic. It puts you in a trance-like state that makes everything operate at a deeper level”

DENNIS LIM reporter for the LA times
“It’s a paean to obsession, a dream match of subject and filmmaker”

Editing within film is the composition of shots into a coherent scenes then form these scenes into a sequence. This used to be done manually before the digital age, but nowadays computers are used instead

Most notable editors:

Michael Kahn – won three academy awards for the following films directed by Steven Spielburg: Raiders of the Lost Ark (1981), Schindler’s List (1993), and Saving Private Ryan (1998)

Thelma Achoonmaker – won three academy awards for her work as editor for the following films directed by Martin Scorsese: Raging Bull (1981), The Aviator (2005) and The Departed (2007)