The editing role in film criticism can be divided into several categories, which are based on the elements of formalism and realism. They are also categorized according to how both of these elements fit within the classical paradigm.
But first, let’s look at three definitions. Technically, editing is the joining of different film clips (two film strips, or two images, for instance).
The way that film editing gives meaning to narratives is a complex issue. Montage is a synonym for editing. It comes from the French word monter, which means to assemble or mount. It is used to describe a sequence that indicates a lapse in space or time.
As an example, consider that Thelma is driving Louise through the country. We have short sequences which reveal the two heroines on different landscapes, at different hours of the day. So, time and place are compressed in order to emphasize the dramatic points. It is possible to argue that a similar sequence can also be seen as symbolizing a path toward liberation or growth.
The second definition is more American than European.
In France, Russia and other countries, montage is used to refer to a more general and theoretical idea of how a series or combination of shots can convey specialized messages.
It may appear that the progression is linear: shot A+ shot B+ shot C = meanings of a+b+c. However, these meanings go beyond an additive structure. A+b+c would not work for this equation. Instead, it would read: a+b+c=d.
This new meaning can be seen in terms of style terms such as realism and formalism. There are two main categories that can be used to describe the meanings of film editing/montage.
Continuity is a linearity that allows for a seamless and understandable flow of scenes. While a films’ continuity is influenced by both realist and formalist elements, its connotation emphasizes the literal aspects of the story.
Style that’s invisible: A well-executed continuity will make viewers forget how the camera, cutting and editing control their response.
From shot to shoot, the dialogue and actions within scenes must match each other.
Films that represent time and space emphasize coherence with a minimalistic style.
Associative meanings are constructed by consciously constructing ideas that depend on the relationships between shots, scenes and scenes to express emotional or symbolic thoughts. Again, it is assumed that a movie text will use both realistic elements and formalistic ones. But, associational interpretations tend to emphasize the figurative meaning of film ideas and heavily depend on abstractions.
Final remarksIt is worth thinking about how continuity can establish certain aspects of a narrative film, while other parts (highly stylized images, explicit suspensions and voices of narrative perspectives, etc.), work alongside or within the continuity to create symbolic meanings. It is possible to use the continuity in conjunction with other elements of the film narrative, or even within it. These symbolic interpretations are often emotional and can be used to play with the poetics. These various aspects of the film are taken into consideration in the best and most convincing analyses.
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