'The Great Train Robbery and The Phantom Carriage: Editing Comparison\r'

'Drawing on the evidence provided by a sequence notation, show how editing functions annalsly and behaveively in one sequence from either scattered Blossoms (1919) or The wraith zori (1921) and comment on the fashions in which this differs from The capacious select looting (1903). The long hold in looting and The shadower bus ar twain considered as one of the learn creative movies ever make in history. The apparition drug peddler was very well known for showcasing it’s advanced story construction with flash natess within flashbacks.\r\nThe dark Carriage would hand had technological advantages entirely over The capital Train Robbery since it was do eighteen age subsequently. Hence, twain their editing methods ar substanti both(prenominal)y varied. Having made a notation on one of the sequences from The Phantom Carriage, the muniment functions of the editing styles among the two lead be discussed p messiness the differences are highlighted. To start with, both the movies consisted of arouse cinematographic members that al upseted the editors to the knock the movie in the close creative personal manner.\r\nFor a commencement exercise narration film, The prominent Train Robbery populaceaged to introduce m any(prenominal) kindle editing techniques. There were multiple location changes, tv tv camera bms and the introduction to the style of cross splayting was in addition impressive. The Phantom Carriage to a fault consisted of troopsy arouse techniques such as the use of unlike guessings from different locomotes, camera movement and the display of a prenomen card to express the narrative. The sequence chosen from The Phantom Carriage is the beginning to part three, which starts off with a black fade to colour transition.\r\nThis transition mechanically communicates a time change within the narrative. We are because shown an establishing verbotendoor shot, of a man habilimented in a suit, walking by of a tall door that is closed by other man who fascinatemed to substantiate to it like a guard. This shot re-establishes the location as the outside of a throw out overdue to its features such as tall doors, the figurehead of a guard, brick walls and then a tall expression with corridor openings stinker the brick wall, which is revealed after the camera pans slightly to the unexpended wing as the man walks towards the camera. The man then timbres to the remaining and exits the ramble where the conterminous caterpillar track is ade. As the egress is made before the man completely exits the frame, as audience, we expect it to be a scoff cut; quite it is a jump cut that cuts into the man hurry into one of the houses in the street. Although this marks a transition in time and space, it makes the audience fishy on where the narrative had gone from when he left field the jail, to when he got to the house. However compared to The massive Train Robbery, the narrative in The Phantom Carriage is pipe down stronger as although there was a jump cut, the audiences were satisfactory to see the man leave the jail and precede the house.\r\nThe element of perseverance in follow through evince the narrative better. The scene in The Great Train Robbery, where the manipulator runs to the nearby dancehall to inform the others of the incident, the audiences are not shown the agents locomote to the dance hall at all; instead the floozie looks as if he is getting up to inform the others and then a jump cut is made to the ball fashion where the people are dancing. We coffin nail then see another man enter the populate; at first we would think that it is the operator but it is somebody else. Due to the lack of pertinacity, it could pull a fast one on the audience on what the narrative is.\r\nAs the operator later joins the crowd and informs the crowd of the incident, with the help of their exaggerated reaction to the situation, the narrative is made c learer. ‘In both narrative and non-narrative films, editing is a crucial dodge for ordering space and time. Two or more than images brush off be linked to imply spacial and temporal relations to the realizeer’. The Phantom Carriage consisted of a figure of shots from different angles that denoted the narrative over to the audience. In contrast, The Great Train Robbery did not show any one sequence from various angles.\r\nMost scenes were shown from one angle and the stage looked theatrical, about like a black box theatre of operations where the camera is the fourth wall. However, the narrative in The Great Train Robbery was very quick and late to understand as each cut meant a scene change. A lot more happened between cuts in The Great Train robbery than in The Phantom Carriage. Therefore if somebody missed a cut from The Great Train Robbery, compared to The Phantom Carriage, it would have been more demanding for the mortal to understand what had occurred. Th e variety of shots in The Phantom Carriage meant that, even if somebody missed couple of shots, they would still be fit to understand the plot. Also, having a variety of shots, allowed the audience to tone more connected to the movie, as they were able to break down the situation from different angles. ‘ In the classic narrative system, editing is governed by the requirements of verisimilitude, hence the characteristics in any one film sequence of establishing shot, closer shots that take in the gaze of the spectator to elements of action to be prove as significant, followed by further long shots to re-establish spacial relations. ’\r\nThe element of continuity is significant in make the movie appear as real as possible. A variety of shots were used to give the continuity military force in The Phantom Carriage. In the fleck shot from the sequence, it is established that the man is walking on the street and is about to walk into a house. We then see a mid shot of the man going up the stairs followed by a close up of the object he is feel at. We are then taken back to a mid shot of him looking for down. The movements between the shots are cut and matched perfectly, meeting the requirements of verisimilitude.\r\nThe Great Train Robbery also had interesting moving flat coat that set the scene without having to explain where the location was. For example, the way the background moved, while the thieves were robbing, made the narrative clearer by explaining the robbery that was happening in the train. This explained the title of respect of the movie while expressing the narrative across. However, there were continuity issues, such as the differences between the speeds of the background movement between scenes.\r\nFor example, after the robbing scene, the scene cuts to a robber climbing the locomotive engine of the train. This is an outdoor scene and the movement of the train in the background suggested that the robbery happened while the tr ain was moving. Compared to the precedent shot, the speed in which the train moved has noticeably decreased, making the background movements in between the scenes look like a jump cut. Continuing on with the sequence, the next cut is made when the audience first sees an empty stairway, where the sequence has an added vignette effect to he frame. We then see the man quickly running up the stairs in the continuing movement from the previous frame. The vignette effect made it calculate like someone was observing the man’s actions through a light upon mountain or peep hole from another live. We are then shown the man’s attempt in trying to get into the room using various eye-line matches between him and the doormat. The vignette effect still makes it seem like it was from a person’s point of place, as the effect disappears as soon the camera position changes in the next cut.\r\nThe next cut is a reverse angle shot that follows the 180-degree rule of the man wa lking into the room with the continuing movement from the previous shot. Perfect continuity plays a crucial part here as from the moment he got up from the stairs to where he got in to the room; all the cuts were perfectly matched with his movements. In contrast, there were no eye line matches or point of view shots in The Great Train Robbery. Most of The Great Train Robbery’s frames seemed like a theatrical stage where the actors entered in from either sides and left through those sides.\r\nWhen the next cut is made, the vignette effect disappears denoting that the other vignette shots were in spades from someone’s point of view. We then see the character walk into the room through a door. The camera is placed facing the door towards the left of the frame making sure that both the doors are in the frame. As the character walks in, the camera pans to the sort out to include the door on the right in the frame. At this point, we are able to see all the three doors in th e frame.\r\nThis moment is a key moment as this shows the importance in including the all doors in the frame. Having a door on the frame always brings in an idea of suspense, in get a lineing out on the ways in which the objects behind the door is going to influence the narrative of the story. We then see the character run into the room, as expect the next cut is made where the physical action of the character running into the room is completed. This smooth match cut looked almost perfect since there were no absence of continuity in the movement expressed by the character.\r\nThis helped strengthen the way the narrative was expressed, as we were able to understand that the character couldn’t find what he desired. The next match cut was also equally effective as the cut made matched his action. There is an interesting mirror element to the way this petty sequence from when the character came into the room, until when he walked out of the room was shot and cut. As he walks i nto the room, the camera pans slightly to the right as he enters the room on his left. This match cut of him going in and out of the room is perfect due to it’s element of continuity.\r\nThe cut matches the shot to its initial camera position that was used when the character walked into the room initially. quasi(prenominal) to the way the camera panned to the right as he walked into the room on his left, the camera pans slightly to the left, back to its original position as he walked out of the room. He then knocks on the opposite neighbour’s door; as soon as he knocks a lady opens the door immediately. It is interesting how quick she opened the door, as this confirms the discussion on the vignette effect denoting the shot as a point of view.\r\nThe camera was probably positioned by the door, and low angled shots such as the one looking down at the doormat and back up at the man shows that the camera is representing someone’s eyes. The restriction of view due the shot cosmos a close-up with the added the vignette effect makes it almost look like someone was peeking through either a keyhole or a peephole. The use of point of view angle would connect the audience to the movie in a deeper level, as they are able to view the actor from another actor’s perspective.\r\nIn terms of mise-en-scenes used; the setting, the actors’ performance and costumes were a lot more exaggerated and un raw(a) in The Great Train Robbery compared to The Phantom Carriage. Due to this reason, The Great Train Robbery lacked the sense of realism in comparison. Due to the variety of cuts, it is easier for The Phantom Carriage to express emotions and denote the narrative through subtle acting, natural setting and simple costumes as the audiences are able to see more and close into the actors.\r\nWith The Great Train Robbery, if the elements were not exaggerated, the moments may go unnoticed spark advance to the narrative being conveyed as unclear to the audience. Although both the movies have significant differences in terms of the way it was shot and cut, The Great Train Robbery can be considered as an impressive work due to its ability in showing a difficult narrative in such a short time. Although its narrative was mainly expressed using its establishing shot, we were still able to understand the narrative without the help of title cards that was used in The Phantom Carriage as the main tool in expressing its narrative.\r\n'