Film teaches us how to see in its own world. We’re led to “perceive reality” with each shot, each cut, each angle. Editing. For instance, in the 2002 film, The Bourne Identity, a 60-second clip from a fight scene contains 63 cuts. This is astonishing. All the camera work in the scene is hand-held. You’d think that many cuts would dislocate/separate the viewer from a sense that he’s looking at reality, but the cuts enhance the feeling of the real. The whole film is a masterpiece of editing. I’m not sure who to credit more, the director Doug Liman, or the editor Saar Klein. I suspect it’s Liman. Understand: you’re not guided to conclude you’re watching reality because the director is matching the way you look at events in life; he’s FABRICATING sequences of cuts which achieve this effect. The first time you watch the film, yes, you might find it jarring; the second or third time—you’re in the groove. Now, for my purposes, imagine you’re watching a somewhat frenetic television show imbued with the editing brilliance of The Bourne Identity… And the content of the show revolves around contestants who predict and bet on how many suspects of violent crimes will be released from custody on bail and walk free in the next month in California. Following me? How convincing would that show be…even though you’re actually watching it online and it’s entirely fake? Add in the use of highly competent actors who play the parts of host and contestants, and a rehearsed studio audience. The show would seem exceedingly real. And someone is producing and presenting this show because?... Subscribe to Jon Rappoport to read the rest.Become a paying subscriber of Jon Rappoport to get access to this post and other subscriber-only content. A subscription gets you:
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