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Appendix B: Videography 419
Ordering your video sequences in a deliberate manner not only permits
you to produce certain effects, but even enables you to convey
messages that cannot or should not be shown in pictures. There are
basically six methods of conveying messages through cuts. Let’s look
at each in turn.
Associative cuts
Shots are strung together in a certain order to trigger associations in
the mind of the viewer, but the actual message is not shown. Example:
A man bets on a horse race and, in very next scene, we see him
shopping for an expensive new car at a car dealership.
Parallel cuts
Two actions are shown in parallel. The film jumps back and forth
between the two actions; making the shots shorter and shorter until
the end. This is a way of building suspense until it peaks. Example: Two
different cars drive from different directions at high speed toward the
same intersection.
Contrast cuts
The film purposely cuts unexpectedly from one shot to another, very
different shot, in order to point up the contrast to the viewer. Example:
A tourist lying on the beach; the next shot shows starving children.
Substitutionary cut
Events that cannot or should not be shown are replaced by other
events (a child is born, but instead of childbirth, the blossoming of a
flower bud is shown).
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