Showing the Physical Space with Invisible Editing - Scenes from "Blade Runner (1982)"

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Showing the Physical Space with Invisible Editing - Scenes from "Blade Runner (1982)"

"In both narrative and non-narrative films, editing is a crucial strategy for ordering space and time. Two or more images can be linked to imply spatial and temporal relations to the viewer."
- (Corrigan and White, 2012, p.144)

In especially films such as "Blade Runner", it is important for the physical space of the film world to be accurately portrayed. With its futuristic looking metropolitan setting, the film clearly wants the feel of dense population and industrially busy atmosphere to be the key elements. Audience can expect to see as much of the action that revolves around the characters as well as viewing the world around such as the building landscapes to building interior. Here, continuity style of editing is needed to seamlessly achieve that while without interfering the story's pace and atmospheric mood.

Spaceship scene

Cuts to the cockpit view from inside.

Overview of Invisible Editing-

This refers to the seamless transition characteristics of multiple shots being weaved together one after the other. In effect, this should show the audience more of the actual scene than just being forced to see the action or character within a fixed frame.

180-Degree Rule:

This rule is typically used when two focal characters (maybe with dialogue) are being focused. The 120 degree part of the rule generally means the angle of which cameras are allowed to shoot as exposing more could change the viewing perspective and confuse viewers. If in a room, only half of the room will be shown using this rule.

"The rule  aims to emphasize the motivation for the cut by giving a substantially different view of the action" - (Corrigan and White, p.148).

Side view of character showing props in the room.

The camera does not show right of character of which would be behind previous picture's camera position.

In the shown pictures, the switching of different camera cuts does the job of showing more of what is surrounding the characters and size of the room they are in. As these angles are shown back and forth in the film we can also call this a "shot and reverse shot" as the frame moves from different character depending on who speaks.

Inserts:

Sometimes film makers want to use long camera shots to capture more of the background. This is to fit more physical space into the frame but it also consequentially limits the viewer to see any small objects or characters that holds equal significance to the background itself. Multiple shots may used to overcome the burden of long shots where "inserts" are use to put the small object or character into the full screen of the picture.

" The use of inserts helps overcome viewers' spatial separation from the action, pointing out details significant to the plot or underscoring versimilitude." (Corrigan and White p.146).

Medium-long shot showing the character "Decker" climbing up a bookshelf.

Decker's gun drops and the camera snaps to his gun landing on the ground.

The first picture shows the main character climbing to his freedom which then shortly after accidentally drops his gun. Inserts may not be crucial here but it prevents any confusion to the audience as what object had fallen from the character's jacket. It is important to note that inserts (especially in the previous picture) does not represent a point of interest view where point of interests are to be viewed from the character him or herself.

Switching to a point of interest shot.

References:

Book: Corrigan, T,. P, White,. (2012). The Film Experience: An Introduction. Boston. Bedford/St.Martins.

Film: Scott, R. (Director). (1982). Blade Runner. USA: The Ladd Company, Shaw Brothers, Warner Bros..

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