![]() and confusion", adding that "Although the effect jars, the idea of visual conflict was central to Soviet montage cinema of that time". Mark Cousins comments that this "fragmentation captured his indecision. It was also used in Alexander Dovzhenko's Arsenal (Soviet Union, 1930), where a close-up shot of a character's face cuts closer and closer a total of nine times. It has been used as an alienating Brechtian technique (the Verfremdungseffekt) that makes the audience aware of the unreality of the film experience, in order to focus the audience's attention on the political message of a film rather than the drama or emotion of the narrative-as may be observed in some segments of Sergei Eisenstein's The Battleship Potemkin. The jump cut has sometimes served a political use in film. ( August 2019) ( Learn how and when to remove this template message) Statements consisting only of original research should be removed. Please improve it by verifying the claims made and adding inline citations. This section possibly contains original research. It is noticeable in Universal Monsters films and music videos. It is frequently used in TV editing, in documentaries produced by Discovery Channel and National Geographic Channel, for example. Recently the jump cut has been used in films like Snatch by Guy Ritchie, and Run Lola Run by Tom Tykwer. In the clip above the scene abruptly changes perspective, emphasizing a gap in action. In Godard's ground-breaking Breathless (1960), for example, he cut together shots of Jean Seberg riding in a convertible (see image) in such a way that the discontinuity between shots is emphasized and its jarring effect deliberate. Contemporary use of the jump cut largely stems from its appearance in the work of Jean-Luc Godard (at the suggestion of Jean-Pierre Melville) and other filmmakers of the French New Wave of the late 1950s and 1960s. Dziga Vertof's avant-garde Russian film Man With a Movie Camera (1929) is almost entirely composed of jump cuts. The effect was used in the early film The Tempest (1908) when Ariel magically disappears and reappears. Georges Méliès is known as the father of the jump cut, as a result of having discovered it accidentally and then using it to simulate magical tricks however, he tried to make the cut appear seamless to complement his illusions. Jump cuts can add a sense of speed to the sequence of events. Although jump cuts can be created through the editing together of two shots filmed non-continuously (spatial jump cuts), they can also be created by removing a middle section of one continuously filmed shot (temporal jump cuts). Generally, if the camera position changes less than 30 degrees, the difference between the two shots will not be substantial enough, and the viewer will experience the edit as a jump in the position of the subject that is jarring, and draws attention to itself. Some schools would call for a change in framing as well (e.g., from a medium shot to a close up). The 30-degree rule advises that for consecutive shots to appear seamless, the camera position must vary at least 30 degrees from its previous position. More than one jump cut is sometimes used in a single sequence.Ĭontinuity editing uses a guideline called the " 30-degree rule" to avoid jump cuts. Jump cuts tend to draw attention to the constructed nature of the film. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing, but are sometimes nonetheless used for creative purposes. This kind of cut abruptly communicates the passing of time as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard's Breathless, which made extensive use of jump cuts and popularized the technique during the 1960s. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. ![]() Camera positions of the subject in the remaining pieces of footage of the sequence should vary only slightly in order to achieve the effect. JSTOR ( March 2010) ( Learn how and when to remove this template message)Ī jump cut is a cut in film editing in which a single continuous sequential shot of a subject is broken into two parts, with a piece of footage being removed in order to render the effect of jumping forward in time. ![]() Unsourced material may be challenged and removed. Please help improve this article by adding citations to reliable sources. This article needs additional citations for verification.
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