ADORATION IN ASSEMBLAGE

“What makes a movie a movie is the editing” - Zach Staenberg

The technique of establishing the rhythm and the emotion of characters in a film is the conceptual tenor of Editing. It is appraised as the final stage of filmmaking that is considered to be a hidden art, an under-appreciated art. The literal interpretation inside a script is perceived through assembling the story in rhythmic format itself is an aesthetic art that becomes invisible.

“Editor’s work is to be invisible” - Thelma Schoonmaker

It is a bizarre actuality that an invisible task gets inside the act of aesthetics. This exquisite art of invisibility started when the script had a range of continuity, implying actions moving from one sequence into another. In the olden days, director’s and cameramen foremost conviction of shooting a scene was not to lose an uninterruptedness flow, so that a sequence cannot lose its tenor. Consequently bringing that flow without any interrupting factors and furnishing the rhythm through ‘editing’ were considered to be the classical, nostalgic and vehemence.

"Unlike the stage play with its constant flow of action and dialogue from the same viewing position, this deliberate breaking down of sequences into punctuated camera angles created a new dimension of pictorial interpretation." - Walter

This methodology was deliberate, unhurried which created a prolonged version of scenes that took the viewers to recognise what is happening without making them to hypothesise. This recognition with the viewers made them not to analyse the cuts but to revolve with the sequence, that brought the tactical editing invisible which still is an aesthetic art of filmmaking.

“The editor needs to have a rigorous discipline, to know why you're doing t...

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...is modernised editing might become classical building a barrier by comparison. The perfect synonym of describing the process of film editing is, expression. Conveying the emotion and rhythm according to the script. Depicting the expression according to the script could not be on ease when compared to the placements of flash cuts and zooming pans. Quentin Tarantino films always had an unalike way of editing where it had chapters like in a storybook, though the film has diversified rhythm, it never failed to attempt in conveying the actual emotions. Scorsese movies had flash editing but it had a beautiful narration of the protagonist with voice-overs that brought the rhythm. Overall the concentration of editing is based on the expression and narrations. Documentary style of editing has narrative structure in editing room, which is how the modernised way should be.