Editing is an important activity in the film-making process since it allows for establishing a clear and evident relation between shots. One should carefully approach this process to ensure that appropriate shots are used and that they are effectively arranged (Bordwell et al. 217). The essay focuses on Just Another Girl on the I.R.T. and comments on how editing is used in a sequence when Chantel is going to school and having an argument with her lecturer, Mr. Weinberg. This sequence has numerous characteristic features, including graphic temporal, spatial, and rhythmic relations, as well as continuity editing.
To begin with, one should comment on graphic relations between two shots. Graphic discontinuity is present when Chantel is shown on the left side of the frame, while her interlocutor, Mr. Weinberg, is placed in the middle of the next shot. Even though this decision does not clearly reveal discontinuity and opposition, this relationship becomes evident after looking at the characters’ eyes. In particular, Chantel is looking upwards since she sits at the desk, while her lecturer is looking downwards because he is in a standing position (Just Another Girl on the I.R.T.) Consequently, these contrasting features are used to demonstrate visual discontinuity, and gaze direction plays a leading role in achieving this effect.
Temporal relations are used to control the time of the action on screen. The sequence under analysis is presented in chronological order, and editing contributes to this effect by showing shots of Chantel and Mr. Weinberg alternately. Simultaneously, elliptical editing is also present when the bell rings, and the next shot displays students leaving the classroom (Just Another Girl on the I.R.T.). Bordwell et al. admit that this editing is used to condense the duration of the action (228). As a result, the shot with the lecturer concluding the lesson is immediately followed by one displaying how the students are leaving the room (Just Another Girl on the I.R.T.). That is why one can state that temporal relations are adequately addressed.
Spatial editing is important because it can construct film space. Editing can be analytical and constructive, and the two types are present in the sequence. On the one hand, an analytical approach implies displaying a spatial whole, while the next shot shows a part of its space (Bordwell et al. 225). In the film, a building interior is displayed, while the following shot depicts a classroom (Just Another Girl on the I.R.T.). This type of editing makes spectators believe that the classroom is within the building. On the other hand, constructive editing is used when Chantel is walking, while the next shots display her in the classroom (Just Another Girl on the I.R.T.). In this case, the Kuleshov effect makes spectators believe that Chantel was walking to her college a few moments ago.
When it comes to rhythmic relations, it is worth considering a specific aspect. One can state that rhythmic cutting was used in the sequence. Since the characters are arguing, medium shots of Chantel and Mr. Weinberg are shown one by one for a few seconds (Just Another Girl on the I.R.T.). Even though the characters do not obtain equal time on screen, spectators do not typically draw attention to this fact. Instead of it, quick changes of shots are supposed to convey the atmosphere of tension between the two people.
In addition to that, it is reasonable to demonstrate how continuity editing is present in the selected sequence. Firstly, the 180-degree line rule is met because Chantel is presented in the left part of the frame, while Mr. Weinberg is placed in the middle, meaning that he is to the right of her. This relationship is evident when the two are in the shot, meaning that the axis was not crossed. Secondly, the shot/reverse-shot pattern is present when the shots with Chantel and Mr. Weinberg are switching. Prior to it, the 180-degree line was established when the lecturer was passing through the girl sitting (Just Another Girl on the I.R.T.). Thirdly, the eyeline match is established because the shot with Chantel depicts her looking at something off-screen, while the following one demonstrates that Mr. Weinberg is doing the same (Just Another Girl on the I.R.T.). This information allows for understanding that the characters are looking at each other. Finally, the match on action is a powerful device that involves carrying a movement across a cut (Bordwell et al. 235). This peculiar tactic is not presented in the selected sequence.
In conclusion, the essay has analyzed how editing was used in Just Another Girl on the I.R.T. Numerous characteristic features of this process were present in the selected sequence. In particular, one found the signs of graphic relations, elliptical editing, constructive and analytical editing, and rhythmic relations. In addition to that, specific elements of continuity editing were present, including the 180-degree line, shot/reverse-shot, and eyeline match. One should also mention that the match on action, another powerful device of continuity editing, was not identified in the sequence under analysis.
Work Cited
Bordwell, David, et al. Film Art: An Introduction. 12th ed., McGraw-Hill Education, 2020.
Just Another Girl on the I.R.T. Directed by Leslie Harris, Miramax Films, 1992.