Re: temporal cross-cutting [a trivial pursuit?]

From: "Henry M. Taylor" <[email protected]>

It might be worth checking out Bordwell's Narration in the Fiction Film,
especially chapters 4 et seq. to get a clearer sense of a) what exactly
you're looking for, and b) historical instances of such usage. Don't know
if this helps, but I like to point out to my students the difference
between parallel editing and alternating montage, also known as
cross-cutting. One of the most obvious instances would be a crosscutting
between a present state of affairs and flashbacks to prior events, such as
may be found in Lindsay Anderson's This Sporting Life (1963), though I
doubt that is exactly what your wife meant. And you would probably also
want to distinguish the effect from pure mindscreen, such as in Resnais'
The War Is Over (La guerre est finie, 1966), where there are brief cuts to
what in Montand's mind might have happened. This film, btw, is analysed in
depth in the 'art cinema' section of Narration in the Fiction Film. In
Metz' Grande Syntagmatique, with respect to true alternation.

H

> From: "Frank, Michael" <[email protected]>
>
> in the SCANDAL case -- which i saw last night in a rerun -- there seemed
to
> be no privileged moment from which the other deviated . . . . instead both
> events, the killing and the eulogy, were repeatedly intercut using fancy
> editing techniques -- e.g. camera slides behind an object and the scene on
> the other side is the other event  . . . frankly i can't remember what the
> sound track was doing; perhaps others can help.
>
> m