Imagine yourself in the role of the Director of this week’s film. Your job is to

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Imagine yourself in the role of the Director of this week’s film. Your job is to create an experience for the audience through focusing on the relationship shots have with each other.
With this in mind, watch the film PK as though this is what Rajkumar Kirani is seeking to do. Take care to see how he does this and how he uses editing. What shots and what juxtapositions are made to create certain emotions and to play off religious questions? It is expected that you can notice many aspects of how these shots are done, such as close ups, mis-en-scene, transitions, etc. How does the film create anxiety? Uneasiness? Humor? This film is a comedy and plays off irony and absurdity in order to make a larger point. How does editing bring this out?
In figuring out what to specifically write about, take a particularly noteworthy scene from the film that stuck with you. Maybe choose a fairly short and simple sequence to look at, such as five to ten shots in a sequence lasting 30 seconds or a minute. Choose an individual sequence or part of an individual sequence rather than the end of one sequence and the beginning of another. A sequence is simply a series of interrelated shots that form a coherent unit of dramatic action. Describe the content of each image thoroughly, but concentrate on the methods by which the director affects transitions from shot to shot. What type of matching does Kirani employ, if any? After you’ve divided each shot and described it thoroughly, what do you notice about the sequence? What is the expressive purpose behind what you are seeing? Is all you see done on purpose, or are there accidental themes, such as a cow running through the scene or a fly that lands on a persons drink? etc, etc.
Utilize this week’s vocabulary and reference this week’s readings.
Step 3: Post your analysis (minimum 350 words).
Lesson 6 Vocabulary Please use vocab
Editing: the process of splicing one shot to another; synonymous with cutting
Transitions: any of a number of methods by which one shot is linked to the next (ie., cut, dissolve, fade-in, iris-in, wipe)
Montage: (a) in the French definition, any type of editing; (b) in the American definition, a rapidly cut, rather kaleidoscopic series of images that often condenses (but sometimes expands) time and space, such as a travel montage showing a character’s progression across the United States in a matter of 20 seconds; (c) in the Soviet definition, a dynamic, expressly political type of film editing that uses the dialectics, or conflicts, of a given situation (a thesis and its antithesis) to produce a revolutionary synthesis in the mind of the spectator.
Continuity Editing: a set of editing practices that establish spatial and/or temporal continuity between shots; the various techniques that filmmakers employ to keep their narratives moving forward logically and smoothly, without jarring disruptions in space or time despite hundreds or even thousands of the discrete bits of celluloid called shots, and with out making the audience aware that they are in fact watching a work of art.
Matching on Action: an editing technique that uses an action begun in the first shot to bridge the cut to the second shot; for example: a baseball thrown across the screen from left to right in the first shot enters the second shot from the screen left and travels across the image in the rightward direction.
Eye-Line Matching: a type of continuity editing that relies on the direction of one or more characters’ glances to maintain spatial relationships from shot to shot; for instance, a character looking offscreen right in the first shot is followed in the second shot by another character looking offscreen left, to two characters appearing to look at each other even though they are in separate shots.
Glance-Object Match: an eye-line match that occurs between a human being and the object he or she is supposed to be looking at; for example: a woman looks offscreen left in the first shot, and the second shot is of a ringing telephone.
Graphic Matching: a type of continuity editing that relies on the similarity of compositional shapes from one shot to the next to bridge the cut smoothly; for instance, a shot of a doorway is followed by a shot of another doorway, the two shots being matched by the similar positions the two doorways occupy onscreen.
Shot/Reverse-Shot Pattern: an editing technique that records the interaction between two characters, usually a conversation, who are facing one another with one series of shots often taken over the shoulder of one character and another series of shots taken over the shoulder of the other character; note that the so-called reverse shot is not actually taken from the truly opposite angle, because such an angle would violate the 180 degree system (don’t worry if we didn’t deal with this system).
Classical Hollywood Style: the set of predominant formal techniques used by most American narrative filmmakers through the twentieth century and to the present day, relies on editing principles to keep audience members so wrapped up in the fictional world created onscreen that they cease to be conscious of watching a movie and, instead, believe that they are witnessing something real.

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