The chapter discusses the intuitive nature of editing and the development of an editor's intuition. It addresses the misconception that discussing intuition disrupts its function and emphasizes the importance of separating the analysis of intuition from its actual practice. The chapter also distinguishes between intuition and instinct, highlighting that intuition is a learned skill acquired through experience and knowledge.
The author identifies six components of intuitive thinking: expertise, implicit learning, judgment, sensitivity, creativity, and rumination. These components are explored in relation to an editor's intuitive processes, such as the unreflective execution of editing skills, the acquisition of implicit knowledge through exposure to films, making accurate decisions without conscious justification, heightened attentiveness to details, using incubation and reverie for problem-solving, and the process of extracting meaning and implications from experience.
Furthermore, the chapter emphasizes that an editor's intuition is rooted in movement, including the movement of story, emotion, image, and sound. The relationship between movement and rhythm is discussed, along with the perception and understanding of rhythm in the context of editing. The chapter concludes by highlighting the importance of developing an awareness of rhythm and movement in order to enhance an editor's intuitive abilities.
Overall, the chapter provides insights into the intuitive nature of editing, dispels misconceptions about intuition, explores the components of intuitive thinking, and emphasizes the role of movement and rhythm in shaping an editor's intuition.
Also discusses the relationship between movement, rhythm, and an editor's intuitive thinking. It highlights that editors have inherent knowledge of rhythms in the world and can develop their rhythmic intuition through active awareness. The author mentions that exposure to music, as well as experiences in surfing, rowing, dancing, painting, and cooking, can enhance an editor's rhythmic intuition.
The author explains that when working with uncut material, editors rely on their rhythmic intuition to identify cues and possibilities for rhythm in the recorded images and sounds. Movement plays a crucial role in perceiving and shaping rhythm, whether it's the movement within the frame, the movement of the eye around the frame, or the movement of events and emotions.
The section further explores the body and brain responses to movement that editors employ when editing intuitively. The concept of kinaesthetic empathy is introduced, which refers to the ability to feel and empathize with movement. Editors utilize kinaesthetic empathy by experiencing and empathizing with the movement in the uncut material, selecting moments that evoke appropriate sensations or emotions, and connecting them to create a coherent flow of movement that resonates with the audience's kinaesthetic empathy.
In summary, the chapter also emphasizes the importance of movement, rhythm, and kinaesthetic empathy in an editor's intuitive thinking and how these elements contribute to the shaping of a film's rhythm.
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