Watch a feature film of your choice. If it is one you have seen before, watch it again before starting your essay.

Write a three-page analysis on the editing of your chosen film based on the editing techniques you have learned in class. Which of Eisenstein’s montage types are used, and how? Is the Kuleshov effect utilized?  How has the editor chosen to structure the scenes? Does the film maintain a specific character’s point of view, or does the viewpoint change, and why?  Analyze how the editing choices affect the tone of the film. Consider the pacing, transitions, audio design, music, and any other post-production choices used to enhance the story. 

• This is not a film review, nor should you spend time describing the plot and characters more than is required to analyze the editing.

Please do not reference scenes or moments in the film based on the elapsed time when they take place.  Your essay must make sense and be able to stand on its own.

• Please do not use phrases such as “amazing editing” unless you are actually describing what is ‘amazing’ about it.
• Make sure to use the proper terminology for techniques and montage types that you’ve learned in this course!  When you mention a technique you should include a description of how it is used. 
• Part of the editing process is to understand what is important and to be able to tell a story within time limits.  You should apply your editing skills to keep the essay at the appropriate length.
• Note: Though music, sound design and visual effects are all important aspects of the postproduction process, the editing comes first!  Thus your essays need to address the ways particular editing techniques are used and how they specifically help tell the story — once you’ve done that you can bring in music, sound design and visual effects.  Also realize that talking about shots, lighting, art direction and other on-set decisions are meaningless for this essay except in the context of ways they provide the raw source material for a style of editing or transitions.  Remember that specific shot sizes and types of coverage are determined on set by the Director and the Director of Photography.  So any references to specific shot sizes should be within the context of how they are cut together to build sequences and move the story line forward. Likewise, you should have realized by now that the only times you should mention the 180 degree line are those when it may have been broken – and why.