Film transition
Most films will also include selective use of other transitions, usually to convey a tone or mood, suggest the passage of time, or separate parts of the story.
The three Burt Bacharach musical sequences in Butch Cassidy and the Sundance Kid (1969) provide contrasting caesuras that separate the major actions of the film.
Several intense action sequences in Master and Commander (2003), including a raging sea storm and fight scenes, are followed by caesuras – quiet, scenic interludes that are often accompanied by melodic cello music.
To maintain continuity within sequences, the editor will often cut on character action so that the scene flows together without noticeable jump-cuts (see below).
Music and sound are often utilized to provide a sense of continuity to a scene or sequences that may contain a variety of unmatched shots taken in different locations.
A close-up view of printed material in a book, intercut as a character reads, is a type of informational point-of-view insert.
The intercutting of a close-up view of a gun resting on a desk within a room where a violent argument is occurring constitutes a type of dramatic insert.
Bob Fosse's All That Jazz (1979), Richard Rush's The Stunt Man (1980), and Oliver Stone's JFK (1991) and Natural Born Killers (1994) employed dynamic cutting extensively.
Dynamic cutting is a featured editing element in the films of Quentin Tarantino, from Reservoir Dogs (1992) to Django Unchained (2012).
Even today with the advent of computerized non-linear editing systems, the digital representation of the film in the program still takes on this L-shaped appearance.
The invisible cut can also be hidden by a whip pan, entering/leaving a very dark or very light environment, or by an object crossing the screen.
[13] A ripple dissolve is a type of transition characterized by a wavering image that is usually employed to indicate a change to flashback material, commonly a character's memory of an event.
The brief ripple dissolves transport each man visually back in time to reveal their 1960's "hippy", "love children" appearances as Donna remembers them.
Also, the washout is the most extreme form of overexposure, which is the act of exposing each frame of film to more light or for a longer period of time than would be required to produce a "normal" exposure of the same subject.
There is little or no visible detail in the highlights - the bright areas of the picture - and images appear bleached, more or less washed out.
While in 2014 some motion-picture directors were still opting for film emulsion-based photographic materials rather than digitally retrieved imagery, the number doing so was rapidly decreasing.
The washouts would bring a single, rich color to the end of a scene to symbolize the emotions and psychological passions at work in the story.
Monster (2003) concludes with a washout as Aileen Wuornos (Charlize Theron) leaves the courtroom after she is sentenced to death.
By closing the iris, a blurry circle sweeps inwards to the middle of the frame, drawing attention to the subject occupying this center space.
The face of young private Ryan (played by actor Matt Damon)[18] is slowly morphed back to an older private Ryan (played by Harrison Young),[18] while at the same time the background is dissolved from a besieged city during World War 2, into a graveyard set in the modern day; there is no doubt in the audience's mind about the two men being one and the same.
Overlapping sound may be used to connect, dynamically, two separate pieces of dramatic action or to enhance the pace of story development.
Francis Ford Coppola made extensive use of combined synchronous-asynchronous sound in the baptism scene of The Godfather (1972).
Near the end of the film, shots of a solemn religious ceremony are juxtaposed with scenes of a vendetta occurring simultaneously in various parts of the city.
The sounds of the grand church music and priestly intonations of the baptismal rite continue uninterrupted as the gunmen carry out their tasks.
Through the use of synchronous-asynchronous sound, and visual crosscutting, an ironic, psychological linking of past, present, and future occurs.
Subjectively inspired psychodramas by experimental filmmakers, such as Meshes of the Afternoon (1943) by Maya Deren, often exploit the psychological dissolve for a mind's-time effect.
A particularly engaging and sometimes bewildering use of psychological character perception accurs in Memento (2000), a film about a man who is searching for his wife's murderer.
Psychological time is a distinguishing element in Shane Carruth's 2013 experimental science-fiction film Upstream Color.
Avoiding a well-made narrative structure, the plot of Upstream Color centers on a man and woman who are targets of parasitic engineering and whose lives dissolve into mental and psychological disarray.
Time is rendered in abrupt, discontinuous fragments, with daily reality intermingling with mental apparitions and abstract imagery.
