this is a short presentation on the history of editing for as part of my coursework for media

1. HISTORY OF EDITING Jack Waldron

2. Editing is the selecting and prepearing footage or images for
correction and visual purposes. Many people who have pieces of
film which are undesirable or have technical faults may be cut out of
that piece of film and select images without faults to collectively
produce an end product. Editing is used by different sectors within
the media sector and it is producing a finished document without
mistakes which will be editing out of a certain document or film

3. EARLY EDITING
Talk about early editors such as
Early films were short films that were one long, static, and locked-down
shot. Motion in the shot was all that was necessary to amuse an
audience, so the first films simply showed activity such as traffic moving
on a city street. There was no story and no editing. Each film ran as long
as there was film in the camera.
The lumiere brothers
Edward s porter
D.W griffiths

4. THE LUMIERE BROTHERS
The Lumière brothers, Auguste and Louis, were sons
of well known Lyons based portrait painter Antoine
Lumière. They were both technically minded and
excelled in science subjects and were sent to
Technical School. Antoine, noting the financial
rewards of new photographic processes, abandoned
his art and set up a business manufacturing and
supplying photographic equipment. Joining him in
this venture was Louis who began experimenting
with the photographic equipment his father was
manufacturing.
By early 1895, the brothers had invented their own
device combining camera with printer and projector
and called it the Cinématographe. Patenting it on
February 13th 1895, the Cinématographe was much
smaller than Edison’s Kinetograph, was lightweight
(around five kilograms), and was hand cranked. The
lumiers used a film speed of 16 frames per second,
The lumiers were at first secretive about
there new invention and at first retained
from public screenings of the work. The
first public date was the 28th of
December at the Grand Cafe on Paris’s
Boulevard de Capuchines. There were 11
picture titles shown that day which
include
La Sortie de usines Lumière (1894)
La Voltige (1895)
La Peche aux poissons rouges (1895)
La Debarquement du congres de
photographie a Lyons (1895)
Les Forgerons (1895)
L’ Arroseur arrose (1895) Repas de bebe

5. EDWIN S. PORTER
Porter’s skill with editing and methods of projection
were used to great effect in some of his earliest
films. He combined documentary footage with his
own footage in films like 'The Execution of Czoyosz'
(which he made with actor and set painter George S.
Fleming); in 'Life of an American Fireman' he
adopted a documentary style of filmmaking .
Porter who was noted as one of the most advanced
and influential men in the promotion of such editing
technique's knew extremely well by his experience
with working with crowd's as a projectionist what
people liked. His most notable work being that of
the famous film the great train robbery. Which unlike
Edwin S. Porter was an American early film pioneer,
most famous as a director with Thomas Edison's
company.[] Of over 250 films created by Porter, the
most important films include Life of an American
Fireman (1903) and The Great Train Robbery (1903)
'The Great Train Robbery' benefited from a
strong storyline, well composed, sophisticated
camera work and an excellent climax, joined
together by Porter’s excellent use of editing.
Although it was not the first 'Western', 'The
Great Train Robbery' was the first Epic Western,
which boasted a cast of forty actors working to
an actual script.

6. D. W. GRIFFITHS
David Wark Griffith was born in Floydsfork, Kentucky, on
January 22, 1875. He grew up on a farm, the son of an ex-
Confederate colonel who died when Griffith was 10. An
avid reader, the young Griffith eventually worked as a book
clerk and later decided to pursue acting and write plays. He
was noted as one of the most prolific and advanced film
makers of his time. His noted works were the film birth of a
nation, which touched on life in the condeferate states of
America(the south) and included portrayls of the slave
trade and the the ku klux klan.
By 1914, Griffith had left the company and worked as a
director and head of production with Reliance-Majestic. He
independently directed Birth of a Nation, released in 1915
and telling the story of the Civil War and Reconstruction
era. Adapted from the book The Clansmen, the work was
seen as the first U.S. blockbuster and has been lauded for
its pioneering storytelling forms, greatly influencing
modern moviemaking and shaping ideas around audience
cultivation
Film Techniques
By 1908, Griffith had entered the fledgling
world of moviemaking. He did acting work
for the New York City film companies
Edison and Biograph and went on to
become a director of hundreds of shorts
for the latter company, working with actors
like Lionel Barrymore, Mary Pickford and
the Gish sisters. He started to develop
two-reel works and eventually made the
four-reel film Judith of Bethulia. ("Four-
reel" meant the movie could play for an
hour.) At Biograph, Griffith was highly
innovative with his filmmaking techniques,
utilizing cross-cutting, close-ups and fade

7. DEVELOPMENT OF CONTINUITY
EDITING
Continuity editing is the predominant
style of film editing and video editing in
the post-production process of
filmmaking of narrative films and
television programs. The purpose of
continuity editing is to smooth over the
inherent discontinuity of the editing
process and to establish a logical
coherence between shots Continuity
editing can be divided into two
categories: temporal continuity and
spatial continuity. Within each category,
specific techniques will work against a
sense of continuity. In other words,
techniques can cause a passage to be
continuous, giving the viewer a concrete
physical narration to follow, or

8. MONTAGE EDITING
is a technique in film editing in which a series of
short shots are edited into a sequence to condense
space, time, and information. The term has been
used in various contexts. It was introduced to
cinema primarily by Eisenstein, and early Soviet
directors used it as a synonym for creative editing.
In France the word "montage" simply denotes
cutting. The term "montage sequence" has been
used primarily by British and American studios,
which refers to the common technique as outlined
in this article.
The montage sequence is usually used to suggest
the passage of time, rather than to create symbolic
meaning as it does in Soviet montage theory.
From the 1930s to the 1950s, montage sequences
often combined numerous short shots with special
optical effects (fades, dissolves, split screens,
double and triple exposures) dance and music.

9. SOVIET MONTAGE EDITING
In 1917 there have been two revolutions in Russia. The
February Revolution eliminated the Tsar's government. The
second revolution took place in October. Vladimir Lenin was
the leader of the revolution and the Union of Soviet Socialist
Republics was created. Narkompros, founded in 1918,
controlled the film industry. Narkompros established the State
Film School in 1919. A year later Lev Kuleshov joined the State
Film School and formed workshops. Kuleshov's experiments
were showing how important editing is and he developed the
central idea to the Montage theory and style. A central aspect
of his experiments was that the viewer's response in cinema
was less dependent on the individual shot than on the editing
or montage. Lenin saw cinema as the most important art, most
probably because it is an effective medium for propaganda and
education. The central aspect of Soviet Montage style was the
area of editing. Cuts should stimulate the spectator. In
opposition to continuity editing Montage cutting often created
either overlapping or elliptical temporal relations. Overlapping
editing means, that the second shot repeats part or all of the
action from the previous shot. Through repetitions of this
method the time an action takes on the screen expands.
Elliptical cutting creates the opposite effect. A part of an action
is left out, so the event takes less time than it would in reality.
Elliptical editing was often used in the form of the jump cut. In
Strike, Eisenstein cuts from a police officer to a butcher who
kills an animal in the form of a jump cut
Born on Jan 23, 1898 in Riga, Latvia, Sergei
Mikhaylovich Eisenstein was to become one of the most
world-renowned filmmakers of the first half of the 20th
century. Eisenstein was of Jewish descent through his
paternal grandparents. His father worked in
shipbuilding, until 1910, when the family moved to St.
Petersburg, where his training as an architect and
engineer had a great influence on his future
filmmaking. In the dawn of the 20th century, cinema
was a new art form, comprising many techniques that
hadn’t been developed. And the ones that had had not
been studied to the needed extension. The elements of
editing were among them. Filmmakers knew that you
could cut and splice the film strip, but they didn’t
thoroughly comprehend the purposes of doing so.
Lev Kuleshov, a Soviet filmmaker, was among the first
to dissect the effects of juxtaposition. Through his
experiments and research, Kuleshov discovered that
depending on how shots are assembled the audience
will attach a specific meaning or emotion to it. In his
experiment, Kuleshov cut an actor with shots of three
different subjects: a hot plate of soup, a girl in a coffin,
and a pretty woman lying in a couch. The footage of
the actor was the same expressionless gaze. Yet the
audience raved his performance, saying first he looked
hungry, then sad, then lustful. Battleship
Potemkin, Russian Bronenosets Potyomkin, Soviet
silent film, released in 1925, that was director Sergey
M. Eisenstein’s tribute to the early Russian
revolutionaries and is widely regarded as a masterpiece
of international cinema.
The film is based on the mutiny of Russian sailors
against their tyrannical superiors aboard the battleship
Potemkin during the Revolution of 1905. Their victory
was short-lived, however, as during their attempts to
get the population of Odessa (now in Ukraine) to launch

10. CLASSIC HOLLYWOOD MONTAGE
SEQUENCE
A montage sequence consists of a
series of short shots that are edited
into a sequence to condense
narrative. It is usually used to
advance the story as a whole (often
to suggest the passage of time),
rather than to create symbolic
meaning. In many cases, a song
plays in the background to enhance
the mood or reinforce the message
being conveyed. One famous
example of montage was seen in the
1968 film 2001: A Space Odyssey,
depicting the start of man's first
development from apes to humans.
Another example that is employed in
many films is the sports montage.
The sports montage shows the star
athlete training over a period of time,
each shot having more improvement

11. DEVELOPMENT OF ALTERNATIVE
EDITING METHODS movies featured unprecedented methods of expression, such
as long tracking shots (like the famous traffic jam sequence in
Godard's 1967 film Week End). Also, these movies featured
existential themes, such as stressing the individual and the
acceptance of the absurdity of human existence. Filled with
irony and sarcasm, the films also tend to reference other
films.
Many of the French New Wave films were produced on tight
budgets; often shot in a friend's apartment or yard, using the
director's friends as the cast and crew. Directors were also
forced to improvise with equipment (for example, using a
shopping cart for tracking shots). The cost of film was also a
major concern; thus, efforts to save film turned into stylistic
innovations. For example, in Jean-Luc Godard's Breathless (À
bout de souffle), after being told the film was too long and he
must cut it down to one hour and a half he decided (on the
suggestion of Jean-Pierre Melville) to remove several scenes
from the feature using jump cuts, as they were filmed in one
long take. Parts that did not work were simply cut from the
middle of the take, a practical decision and also a purposeful
stylistic one.[8]
The cinematic stylings of French New Wave brought a fresh
look to cinema with improvised dialogue, rapid changes of
scene, and shots that go beyond the common 180° axis. The
camera was used not to mesmerize the audience with
elaborate narrative and illusory images, but to play with the
expectations of cinema. The techniques used to shock and
awe the audience out of submission and were so bold and
direct that Jean-Luc Godard has been accused of having
contempt for his audience. His stylistic approach can be seen
A jump cut is a cut in film editing in which two sequential shots
of the same subject are taken from camera positions that vary
only slightly. This type of edit gives the effect of jumping
forwards in time. It is a manipulation of temporal space using
the duration of a single shot, and fracturing the duration to
move the audience ahead. This kind of cut abruptly
communicates the passing of time as opposed to the more
seamless dissolve heavily used in films predating Jean-Luc
Godard's Breathless, when jump cuts were famously first used
extensively. For this reason, jump cuts are considered a
violation of classical continuity editing, which aims to give the
appearance of continuous time and space in the story-world by
de-emphasizing editing. Jump cuts, in contrast, draw attention
to the constructed nature of the film.

12. FILM EDITING TECHONOLOGY
If you don't work in the film
industry, terms like "non-linear
editing" might sound foreign to
you. To understand what non-
linear editing is, first you need to
know what linear editing is. Linear
editing is when a film project is
put together in an ordered
fashion, from beginning to end.
It's typically used when working
with videotape, because digital
video can't be cut and spliced.
Non-linear editing means that a
project can be altered and
arranged in any order, much like
you cut and paste within a
document in a computer word
processing program.
A Moviola is a device
that allows a film
editor to view film
while editing. It was
the first machine for
motion picture editing
when it was invented
by Iwan Serrurier in
1924. Moviola the
company is still in
existence and is
located in Hollywood
where part of the
facility is located on
one of the original
Moviola factory floors.
A flatbed editor is a
type of machine used
to edit film for a
motion picture.
Picture and sound
rolls load onto
separate motorized
disks, called "plates."
Each set of plates
moves forward or
backward separately,
or locked together to
maintain
synchronization
between picture and
sound. A prism
reflects the film
image onto a viewing
screen, while a
magnetic playback
head reads the
magnetic audio

13. DEVELOPMENT OF SOUND EDITING
The Jazz Singer is a 1927
American musical film. The first
feature-length motion picture
with synchronized dialogue
sequences, its release heralded
the commercial ascendance of the
"talkies" and the decline of the
silent film era. Directed by Alan
Crosland and produced by Warner
Bros. with its Vitaphone sound-
on-disc system, the movie stars
Al Jolson, who performs six
songs. The film is based on The
Day of Atonement, a play by
Samson Raphaelson.
While many earlier sound films had
dialogue, all were short subjects. D. W.
Griffith's feature Dream Street (1921) was
shown in New York with a single singing
sequence and crowd noises. It was
preceded by a program of sound shorts,
including a sequence with Griffith
speaking directly to the audience, but the
feature itself had no talking scenes.[18]
Similarly, the first Warner Bros. Vitaphone
features, Don Juan (premiered August
1926) and The Better 'Ole (premiered
October 1926), like two more that
followed in early 1927, had only a
synchronized instrumental score and
sound effects. The Jazz Singer contains
those, as well as numerous synchronized
singing sequences and some
synchronized speech: Two popular tunes
are performed by the young Jakie
Rabinowitz, the future Jazz Singer; his
father, a cantor, performs the devotional
Kol Nidre; the famous cantor Yossele
Rosenblatt, appearing as himself, sings
another religious melody, Kaddish. As the
adult Jack Robin, Jolson performs six
songs, five popular "jazz" tunes and the
Kol Nidre. The sound for the film was