Editing and cognition beyond continuity

Research output: Contribution to journalArticlepeer-review

6 Citations (Scopus)

Abstract

This article proposes that inquiry into the cognitive complexity of film editing processes could provide insight into how edits affect audiences beyond convincing them of temporal and spatial continuity. Application of two influential theories in cognitive studies of the moving image to this inquiry suggests that editors make some decisions to maximize the smooth transference of their own attention and some in response to their own embodied simulation. However, edited sequences that do not conform precisely to the principles of maximum attentional efficiency or that significantly reshape the cinematographer's "kinematics" (Gallese and Guerra 2012) reveal other cognitive expertise at work. Sequences generated by editors' feeling for rhythmic phrases of movement, tension, and release create unique expressive forms in film. They require artistry of a higher order, rather than following the relatively straightforward rules of continuity cutting, and may have distinctive affective or cognitive impact on audiences.

Original languageEnglish
Pages (from-to)67-86
Number of pages20
JournalProjections : the journal for movies and mind
Volume11
Issue number2
DOIs
Publication statusPublished - Dec 2017

Keywords

  • continuity editing
  • cognition
  • film editing
  • embodied simulation
  • rhythm
  • tension and release
  • artistry

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