Parallel editing vs cross cutting

Continue Cross-cutting: Literally, cutting between different sets of actions that can occur simultaneously or at different times, (this term is used synonymously, but somewhat incorrectly with parallel editing.) Cross cutting is used to create suspense or to show a connection between different sets of actions. Parallel Editing: An editing method that allows two or more simultaneous sets of actions to unfold within a single sequence of the film. Uses: Creates tension, can show multiple points of view, and can create a dramatic irony when the characters are unaware of events unfolding away from the main action. There is a difference between cross-cutting and parallel editing, and that would be time. You can go to frames from different periods of time, but the term parallel editing is used to show two separate scenes of events happening simultaneously. I think from time to time this means that you could use the term interchangeable when writing based on the circumstances of the scene. Cross-cutting refers to the editorial technique of cutting between different sets of actions that can occur simultaneously or at different times. Cross cutting is often used to create suspense, cutting off at the point of tension the audience will wonder what happens next. Parallel editing is an editing method that allows two or more simultaneous sets of actions to unfold within a single movie sequence. This creates tension can show different points of view. This creates something that the audience knows that the characters are not what makes it more interesting. Both cross-cutting and parallel editing are used to imply a connection between different sets of actions. An example of parallel editing could be a scene from American Sniper, where it shows different moments of action at the same time. The difference between cross-cutting and parallel time editing. The term parallel editing is used to simultaneously display individual events. An example of cross-cutting would be a scene from the beginning where they are about to come out of a dream. Cross cutting is used when the van rides off the bridge because we wonder if they will have enough time to continue in their sleep without drowning. He also uses parallel editing because it shows the action in the scene and then cuts whats going on outside of sleep. Parallel editing (cross cutting) is a method of alternating two or more scenes that often occur simultaneously, but in different places. If the scenes are simultaneous, they sometimes in one place where the parties concerned are confronting each other. Also known as cross-cutting, parallel editing gained notoriety with Edwin S. Porter in his famous film The Great Train Robbery (1903). This early image uses cross-cutting cutting show what's going on in two different places, but nothing more. Although Porter did not fully use this technique, he was responsible for introducing the concept into American cinema, allowing others to rely on it. In Lonedale Operator (1911), D.W. Griffith further develops the technique, using parallel editing to provoke suspense. This picture tells the story of a young girl who replaces her father as a telegraph operator of a railway station during the day of wages. When the robbers try to loot the place, the young girls are locked in the telegraph room, where she asks for help. Cross cutting shows three relevant sides of the plot: (1) a frightened girl, (2) robbers trying to break in, and (3) approaching squad. The clip below is from Silence of the Lambs (1991). This is one of the most famous cases of cross-cutting in American cinema. This happens in the third act of the movie and spoils the big surprise, so if you haven't seen the movie and if you don't like spoilers, watch the movie first. It needs to be seen. Why use it? To add interest and excitement to an otherwise boring sequence. Parallel editing is often used to create suspense. Imagine the following scenario: a woman takes a shower, sings cheerfully. The steam fills the bathroom. When she's done, she turns off the water. She put on her robe and enters her bedroom. When she opens the closet, the masked assailant stabs her in the stomach. What's wrong with the scene? A woman takes a shower, sings and dresses not particularly interesting. How can we improve this scene? With parallel editing. Now the image of this scenario: a woman takes a shower. The van stops in a dark alley. This woman sings merrily. The steam fills the bathroom. Two masked assailants are in her kitchen. The window behind them is broken - their entrance. This woman turns the water. One of the attackers pulled the knife out of the holder. This woman's wearing a robe. Two attackers enter the second floor of the corridor. One of them enters the bedroom, hides in a closet. This woman leaves her bathroom in the room. She opens her closet and is stabbed in the stomach. Think about visual value. The first version is only interesting in its conclusion when a woman is stabbed. This second version is tense throughout, especially with ominous music. For the savvy director and cinephile, it's obvious that the two storylines will intersect in the main plot point. When to use it? Implement cross-cutting when you're sure it will work and you have a budget for it. Note that in the two versions above the plot point is the same: a woman was stabbed. Everything else is potentially superfluous. So if you have a budget, shoot both scenes and apply parallel editing. If you don't have a budget, shower the scene and move as fast as you can into the bedroom and and Francis Ford Coppola's The Godfather (1972), a parallel editing used to develop the theme. A cross cutting back and forth during the baptismal scene shows the contradictory life of Michael Corleone (Al Pacino). In the church, Michael accepts God and renounces Satan. But parallel editing shows the killers recruited by Michael who killed his enemies. The paradox is obvious. While in one scene Michael fulfills his religious obligations, in another he performs his mafia duties. This article is about shooting techniques. For other terms, see Cross Cut (disambiguation). This article needs additional quotes to verify. Please help improve this article by adding quotes to reliable sources. Non-sources of materials can be challenged and removed. Find sources: Crossroads - News newspaper book scientist JSTOR (August 2017) (Learn how and when to delete this template message) Cross-cutting is the editing method that is most commonly used in movies to create actions that take place at the same time, and usually in the same place. When the cross-section, the camera will cut off from one action to another, which may suggest the simultaneousness of these two actions, but this is not always the case. Cross-cutting can also be used for characters in a movie with the same goals, but different ways of achieving them. Suspension can be added by crossing. It is built through the expectations it creates and in the hope that it will be explained over time. Cross-cutting also forms parallels; it illustrates the narrative action that happens in several places around the same time. For example, in D.W. Griffith's The Corner in Wheat (1909), the film crosses the activities of wealthy businessmen and poor people waiting for bread in line. This creates a sharp dichotomy between the two actions, and encourages the viewer to compare the two shots. Often this contrast is used for a strong emotional effect, and often in the climax of the film. Rhythm, or length of time between, cross- cutting can also set the rhythm of the scene. Increasing the speed between two different actions can add tension to the scene, in much the same way, using short, declarative sentences in a literary work. Cross cutting was created as a filmmaking technique relative to the early history of cinema (several examples of Edwin Porter's 1903 short Great Train Heist and Louis J. Gasnier's 1908 short Runaway Horse); Griffith was his most famous practitioner. The technique is presented in his biography of works such as Corner in Wheat and 1911's Lonedale Operator. His 1915 film The Birth of a Nation contains textbook examples of interbreeding and firmly established it as the main product of film editing. Mrinal Sen cross effectively in his agit-prop film Interview, which has achieved significant commercial success. Christopher Christopher widely used in films such as Interstellar, The Dark Knight and The Beginning, especially in the latter, in which sequences depict several simultaneous levels of consciousness. Cloud Atlas is known for its numerous cross-cuts between six different film stories, some of which lasted only a few seconds, but spanning hundreds of years in different locations around the world. His cuts are facilitated by a similar emotional tone depicted in the action of each side. Cm. Also Buffer Shot Cutaway (cinema) Dissolve (film production) Fast Cutting Jump cut Match Cut Shot Reverse Shot Slow Cutting Notes - cross-cut - definition of cross-cut in English - Oxford Dictionaries. Oxford Dictionaries - English. Received on August 28, 2017. Van Syle, Jennifer (August 1, 2005). Cinematic storytelling. Michael Wiese Productions. ISBN 9781615930029. Received on November 1, 2017 - via Google Books. John Rosenberg (February 11, 2013). Healthy editing: creative techniques for perfecting your film. Taylor and Frances. ISBN 9781136040733. Received on November 1, 2017 - via Google Books. Lonedale Operator: Part 2. Tcf.ua.edu. received on August 28, 2017. cross-cut - definition of cross cut in English - Oxford Dictionaries. Oxford Dictionaries - English. Received on August 28, 2017. Screenwriting.info: Intercuts. Screenwriting.info November 1, 2017. Links to Boardwell, David; Christine Thompson (2006). Cinema Art: Introduction. New York: McGraw Hill. 244-245. ISBN 0-07-331027-1. This article of film production is a stub. You can help Wikipedia by expanding it.vte extracted from

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