REACTION SHOTS are usually just close-ups of a specific performance showing a subject’s reaction to a particular event. Often a reaction shot can be stolen from a different take, or even a different scene. Brilliant editors have been known to find a few seconds of footage on an actor with his guard down after Director called “cut”.
Such editors then go ahead to use this clip as a reaction shot somewhere else in the scene.
The fascinating thing about the reaction shot is that it gains its reason for being from the preceding shot. The audience may or may not react the same way as a reaction performance, but in the film narrative the director has found it appropriate. The 20th century Russian film maker-Lev Kuleshov was passionate about the reaction shot, and explored the concept extensively in his films.
INSERTS AND CUTAWAYS: Inserts are close-ups of objects that have already been seen within a scene. They are usually not human objects but properties (props) and set pieces flashed on the screen for reasons best known by the irector and his editor. Cutaways are similar but in this case they are objects that have not been experienced by the audience before its brief introduction. For example, in a restaurant scene, the cutaway could be the attendant or other diners.
AERIAL SHOTS are usually taken from a plane a helicopter, or a person on top of a building. Aerial shots are usually not close-ups, but medium shots, and long shots are usually preferred. Also, aerial shots can be immobile or mobile. It is pertinent to observe that since the arrival of Drone Technology, air planes, helicopters and human climbers have been spared the trouble involved in the execution of Aerial Shots.
Drones can now take the execution of aerial shots farther and better.
BRIDGING SHOTS are used to cover a jump in time or place, or other apparent forms of discontinuity. They help the director, working with the editor, to fill gaps which otherwise would have distorted the flow of the film narrative in one way or another. Examples are CU of moving car tyres, newspaper headlines or weather changes and so on.
The CUT in professional analogue film-making is the splicing of two shots together to create a continuing sequence. It is done by the editor at the post production stage of a film. Between sequences, the cut marks a rapid transition between a particular time, space, and another. In digital film- making, the ‘cut’ merely refers to the temporary stoppage of recording by the camera. It marks the break of one continuous sequence.
This effect can also be generated by the film editor in the studio.
CROSS-CUTS are produced by cutting between different sets of action that can be recurring simultaneously, or at different times. Cross–cutting is used to build suspense, as well as to show the relationship between the
sets of action. A good example is (1) Children playing in the sitting room and (2) their parents in a heated argument in the bedroom. Let us do a little exercise here. Based on your understanding of what we have learned in this module so far, think of 3 other settings that can serve as credible Cross Cuts apart from the examples provided by me. Share with the class.
The JUMP CUT is that which shows no match between two back-to-back shots. Within a sequence, or more particularly a scene, jump cuts give the effect of bad editing, although some directors use it to make personal statements. Where the jump cut is not properly handled, it is capable of calling attention to itself, thereby disorienting the audience. It is called a Jump cut because it makes the spectator jump. When the picture jumps, the audience’s sensibilities are jarred.
This is the opposite of the MATCH CUT and it is an abrupt cut between two shots which do match each other. It is used as a technique to mark transition in time and space.
POV SHOTS
Conventionally, the film camera represents an unseen objective eye that records images without the subjects being aware that it is there. All shots taken with this understanding are known as objective shots. However, when the subjective view of a character is captured by the camera, the shot seizes to be objective but subjective. POV Shots, therefore, are shots taken by the camera but representing the point of view of a character involved in the filmic action.
4.0 CONCLUSION
The film story is not just told by the dialogue spoke by actors and actresses. To a larger extent the story is told by the film narrative which has to do more with the visual progression.
Shots and cuts play a vital role in the unfolding and progression of the film story. While some establish the action and location others reveal reactions, while others serve as bridges to cover error and flaws that have found themselves in the film. When all the narrative modes play their roles well, the film is greatly enhanced.
5.0 SUMMARY
We have seen how shots and cuts go beyond their mere description to play active roles in the development of the film narrative. This module has explained Establishing Shots, Reaction Shots, Inserts, Cutaways, Bridging Shots and Aerial Shots. It has also covered Cuts, Cross Cuts, Jump Cuts, Match Cuts as well as POV Shots. Working with the editor,
the director ensures the intelligent and creative application of these narrative modes to engender a good film and a satisfied audience.
6.0TUTOR-MARKED ASSIGNMENT
Give a description of each of the underlisted and the role they play.
a) The Jump Cut b) POV shots c) Bridging shots d) Reaction shots
7.0REFERENCE/FURTHER READING 1. www.nyfa.edu
2. www.udemy.com 3. Info.finaldraft.com 4. www.universalclass.com 5. www.domestika.org www.classcentral.com
UNIT 3 ACTING I