论连续性剪辑

On Continuity Editing

随着电影的发明而产生的连续性剪辑是以保持现实的连续性幻觉为目的的一种剪辑系统。它以人的心理认知为基础,将带有时间重叠性质的并置式镜头组合融于具有时间顺序性的镜头组合之中,形成了较完美的连续性幻觉,进而形成一些符合人的心理认知的惯例系统,即轴线或180°关系线系统。但惯例系统最终被教条化,要全面理解连续性剪辑需在反惯例中寻求突破,即将巴赞的透明性剪辑理论及与之相关的段落镜头和景深镜头看作连续性剪辑的一种极端形式;一些反惯例的电影其实保持着叙事的连续性,这与交代镜头以及人具备非视域内情景表象的能力有关。因此,完整的连续性剪辑应该包含传统的惯例系统和在反惯例中突破这两方面。

Continuity editing,emerged with the invention of the film,is a kind of editing system formed for the purpose of maintaining the continuity illusion of reality.and combines juxtaposition shots with temporal overlap into sequences of shots in chronological order to create a seamless illusion of continuity.This,in turn,has led to the development of certain conventional systems in line with human psychological cognition,such as the axis or 180° line system.However,these conventional systems eventually became dogmatic.A comprehensive understanding of continuity editing requires breaking away from these conventions,as seen in Bazin's theory of transparent editing and related techniques like match cuts and deep focus shots,which can be considered as extreme forms of continuity editing.in addition,some unconventional films also maintain narrative continuity,which is related to the exposition shots and human's ability to present non-visible scene representations.Therefore,the complete understanding of the continuity editing should contain both traditional conventional systems and innovative approaches that challenge these conventions.