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Cross-cutting
From Wikipedia, the free encyclopedia
This article is about a Cutaway (filmmaking)
Dissolve (filmmaking)

Cross-cutting
From Wikipedia, the free encyclopedia
This article is about a filming technique. For other terms, see Cross cut (disambiguation).
Cross-cutting is an editing
used in films to establish action occurring at the same time in two different locations. In a cross-cut,
the camera will cut away from one action to another action, which can suggest the simultaneity of
these two actions but this is not always the case.
Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the
hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative
action that happens in several places at approximately the same time. For instance, in D.W.
Griffith's A Corner in Wheat (1909), the film cross-cuts between the activities of rich businessmen
and poor people waiting in line for bread.
will cut away from one action to another action, which can suggest the simultaneity of these two
actions but this is not always the case.
Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the
hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative
action that happens in several places at approximately the same time. For instance, in D.W.
Griffith's A Corner in Wheat (1909), the film cross-cuts between the activities of rich businessmen
and poor people waiting in line for bread. This creates a sharp dichotomy between the two actions,
and encourages the viewer to compare the two shots. Often, this contrast is used for strong
emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between,
cross-cuts can also set the rhythm of a scene. Increasing the rapidity between two different actions
may add tension to a scene, much in the same manner of using short, declarative sentences in a
work of literature.
Cross-cutting was established as a filmmaking technique relatively early in film history (few
examples would be Edwin Porter's 1903 short The Great Train Robbery and the Louis J. Gasnier's
1908 short The Runaway Horse) and Griffith was its most famous practitioner. The technique is
showcased in his Biograph work, such as A Corner in Wheat and 1911's The Lonedale Operator.[1]
His 1915 film, The Birth of a Nation, contains textbook examples of cross-cutting and firmly
established it as a staple of film editing. Mrinal Sen has used cross-cutting effectively in his agitprop film Interview which became quite popular after this. Christopher Nolan uses cross cutting
extensively in his films like The Dark Knight, Inception and The Dark Knight Rises where two or
three scenes take place simultaneously to build towards a grand climax.
Cross-cutting is sometimes used during phone-conversation scenes so that viewers get to see both
characters' nonverbal reactions to what is said.

Notes
1.

Frames captured from The Lonedale Operator illustrate cross-cutting.


http://www.tcf.ua.edu/Classes/Jbutler/T112/Lonedale2/index.htm.

References

Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York:
McGraw-Hill. pp. 244245. ISBN 0-07-331027-1.

See also

Buffer shot
Cutaway (filmmaking)
Dissolve (filmmaking)

Cross-cutting
From Wikipedia, the free encyclopedia
This article is about a filming technique. For other terms, see Cross cut (disambiguation).
Cross-cutting is an editing technique most often used in films to establish action occurring at the
same time in two different locations. In a cross-cut, the camera will cut away from one action to
another action, which can suggest the simultaneity of these two actions but this is not always the
case.
Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the
hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative
action that happens in several places at approximately the same time. For instance, in D.W.
Griffith's A Corner in Wheat (1909), the film cross-cuts between the activities of rich businessmen
and poor people waiting in line for bread. This creates a sharp dichotomy between the two actions,
and encourages the viewer to compare the two shots. Often, this contrast is used for strong
emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between,
cross-cuts can also set the rhythm of a scene. Increasing the rapidity between two different actions
may add tension to a scene, much in the same manner of using short, declarative sentences in a
work of literature.
Cross-cutting was established as a filmmaking technique relatively early in film history (few
examples would be Edwin Porter's 1903 short The Great Train Robbery and the Louis J. Gasnier's
1908 short The Runaway Horse) and Griffith was its most famous practitioner. The technique is
showcased in his Biograph work, such as A Corner in Wheat and 1911's The Lonedale Operator.[1]
His 1915 film, The Birth of a Nation, contains textbook examples of cross-cutting and firmly
established it as a staple of film editing. Mrinal Sen has used cross-cutting effectively in his agitprop film Interview which became quite popular after this. Christopher Nolan uses cross cutting
extensively in his films like The Dark Knight, Inception and The Dark Knight Rises where two or
three scenes take place simultaneously to build towards a grand climax.
Cross-cutting is sometimes used during phone-conversation scenes so that viewers get to see both
characters' nonverbal reactions to what is said.

Notes
1.

Frames captured from The Lonedale Operator illustrate cross-cutting.


http://www.tcf.ua.edu/Classes/Jbutler/T112/Lonedale2/index.htm.

References

Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York:
McGraw-Hill. pp. 244245. ISBN 0-07-331027-1.

See also

Buffer shot
Cutaway (filmmaking)
Dissolve (filmmaking)

Cross-cutting
From Wikipedia, the free encyclopedia
This article is about a filming technique. For other terms, see Cross cut (disambiguation).
Cross-cutting is an editing technique most often used in films to establish action occurring at the
same time in two different locations. In a cross-cut, the camera will cut away from one action to
another action, which can suggest the simultaneity of these two actions but this is not always the
case.
Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the
hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative
action that happens in several places at approximately the same time. For instance, in D.W.
Griffith's A Corner in Wheat (1909), the film cross-cuts between the activities of rich businessmen
and poor people waiting in line for bread. This creates a sharp dichotomy between the two actions,
and encourages the viewer to compare the two shots. Often, this contrast is used for strong
emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between,
cross-cuts can also set the rhythm of a scene. Increasing the rapidity between two different actions
may add tension to a scene, much in the same manner of using short, declarative sentences in a
work of literature.
Cross-cutting was established as a filmmaking technique relatively early in film history (few
examples would be Edwin Porter's 1903 short The Great Train Robbery and the Louis J. Gasnier's
1908 short The Runaway Horse) and Griffith was its most famous practitioner. The technique is
showcased in his Biograph work, such as A Corner in Wheat and 1911's The Lonedale Operator.[1]
His 1915 film, The Birth of a Nation, contains textbook examples of cross-cutting and firmly
established it as a staple of film editing. Mrinal Sen has used cross-cutting effectively in his agitprop film Interview which became quite popular after this. Christopher Nolan uses cross cutting
extensively in his films like The Dark Knight, Inception and The Dark Knight Rises where two or
three scenes take place simultaneously to build towards a grand climax.
Cross-cutting is sometimes used during phone-conversation scenes so that viewers get to see both
characters' nonverbal reactions to what is said.

Notes
1.

Frames captured from The Lonedale Operator illustrate cross-cutting.


http://www.tcf.ua.edu/Classes/Jbutler/T112/Lonedale2/index.htm.

References

Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York:
McGraw-Hill. pp. 244245. ISBN 0-07-331027-1.

See also

Buffer shot
Cutaway (filmmaking)
Dissolve (filmmaking)

Cross-cutting
From Wikipedia, the free encyclopedia
This article is about a filming technique. For other terms, see Cross cut (disambiguation).
Cross-cutting is an editing technique most often used in films to establish action occurring at the
same time in two different locations. In a cross-cut, the camera will cut away from one action to
another action, which can suggest the simultaneity of these two actions but this is not always the
case.
Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the
hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative
action that happens in several places at approximately the same time. For instance, in D.W.
Griffith's A Corner in Wheat (1909), the film cross-cuts between the activities of rich businessmen
and poor people waiting in line for bread. This creates a sharp dichotomy between the two actions,
and encourages the viewer to compare the two shots. Often, this contrast is used for strong
emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between,
cross-cuts can also set the rhythm of a scene. Increasing the rapidity between two different actions
may add tension to a scene, much in the same manner of using short, declarative sentences in a
work of literature.
Cross-cutting was established as a filmmaking technique relatively early in film history (few
examples would be Edwin Porter's 1903 short The Great Train Robbery and the Louis J. Gasnier's
1908 short The Runaway Horse) and Griffith was its most famous practitioner. The technique is
showcased in his Biograph work, such as A Corner in Wheat and 1911's The Lonedale Operator.[1]
His 1915 film, The Birth of a Nation, contains textbook examples of cross-cutting and firmly
established it as a staple of film editing. Mrinal Sen has used cross-cutting effectively in his agitprop film Interview which became quite popular after this. Christopher Nolan uses cross cutting
extensively in his films like The Dark Knight, Inception and The Dark Knight Rises where two or
three scenes take place simultaneously to build towards a grand climax.
Cross-cutting is sometimes used during phone-conversation scenes so that viewers get to see both
characters' nonverbal reactions to what is said.

Notes
1.

Frames captured from The Lonedale Operator illustrate cross-cutting.


http://www.tcf.ua.edu/Classes/Jbutler/T112/Lonedale2/index.htm.

References

Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York:
McGraw-Hill. pp. 244245. ISBN 0-07-331027-1.

See also

Buffer shot
Cutaway (filmmaking)

Dissolve (filmmaking)

Cross-cutting
From Wikipedia, the free encyclopedia
This article is about a filming technique. For other terms, see Cross cut (disambiguation).
Cross-cutting is an editing technique most often used in films to establish action occurring at the
same time in two different locations. In a cross-cut, the camera will cut away from one action to
another action, which can suggest the simultaneity of these two actions but this is not always the
case.
Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the
hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative
action that happens in several places at approximately the same time. For instance, in D.W.
Griffith's A Corner in Wheat (1909), the film cross-cuts between the activities of rich businessmen
and poor people waiting in line for bread. This creates a sharp dichotomy between the two actions,
and encourages the viewer to compare the two shots. Often, this contrast is used for strong
emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between,
cross-cuts can also set the rhythm of a scene. Increasing the rapidity between two different actions
may add tension to a scene, much in the same manner of using short, declarative sentences in a
work of literature.
Cross-cutting was established as a filmmaking technique relatively early in film history (few
examples would be Edwin Porter's 1903 short The Great Train Robbery and the Louis J. Gasnier's
1908 short The Runaway Horse) and Griffith was its most famous practitioner. The technique is
showcased in his Biograph work, such as A Corner in Wheat and 1911's The Lonedale Operator.[1]
His 1915 film, The Birth of a Nation, contains textbook examples of cross-cutting and firmly
established it as a staple of film editing. Mrinal Sen has used cross-cutting effectively in his agitprop film Interview which became quite popular after this. Christopher Nolan uses cross cutting
extensively in his films like The Dark Knight, Inception and The Dark Knight Rises where two or
three scenes take place simultaneously to build towards a grand climax.
Cross-cutting is sometimes used during phone-conversation scenes so that viewers get to see both
characters' nonverbal reactions to what is said.

Notes
1.

Frames captured from The Lonedale Operator illustrate cross-cutting.


http://www.tcf.ua.edu/Classes/Jbutler/T112/Lonedale2/index.htm.

References

Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York:
McGraw-Hill. pp. 244245. ISBN 0-07-331027-1.

See also

Buffer shot
Cutaway (filmmaking)
Dissolve (filmmaking)

Cross-cutting
From Wikipedia, the free encyclopedia
This article is about a filming technique. For other terms, see Cross cut (disambiguation).
Cross-cutting is an editing technique most often used in films to establish action occurring at the
same time in two different locations. In a cross-cut, the camera will cut away from one action to
another action, which can suggest the simultaneity of these two actions but this is not always the
case.
Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the
hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative
action that happens in several places at approximately the same time. For instance, in D.W.
Griffith's A Corner in Wheat (1909), the film cross-cuts between the activities of rich businessmen
and poor people waiting in line for bread. This creates a sharp dichotomy between the two actions,
and encourages the viewer to compare the two shots. Often, this contrast is used for strong
emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between,
cross-cuts can also set the rhythm of a scene. Increasing the rapidity between two different actions
may add tension to a scene, much in the same manner of using short, declarative sentences in a
work of literature.
Cross-cutting was established as a filmmaking technique relatively early in film history (few
examples would be Edwin Porter's 1903 short The Great Train Robbery and the Louis J. Gasnier's
1908 short The Runaway Horse) and Griffith was its most famous practitioner. The technique is
showcased in his Biograph work, such as A Corner in Wheat and 1911's The Lonedale Operator.[1]
His 1915 film, The Birth of a Nation, contains textbook examples of cross-cutting and firmly
established it as a staple of film editing. Mrinal Sen has used cross-cutting effectively in his agitprop film Interview which became quite popular after this. Christopher Nolan uses cross cutting
extensively in his films like The Dark Knight, Inception and The Dark Knight Rises where two or
three scenes take place simultaneously to build towards a grand climax.
Cross-cutting is sometimes used during phone-conversation scenes so that viewers get to see both
characters' nonverbal reactions to what is said.

Notes
1.

Frames captured from The Lonedale Operator illustrate cross-cutting.


http://www.tcf.ua.edu/Classes/Jbutler/T112/Lonedale2/index.htm.

References

Bordwell, David; Thompson, Kristin (2006). Film Art: An Introduction. New York:
McGraw-Hill. pp. 244245. ISBN 0-07-331027-1.

See also

Buffer shot
Cutaway (filmmaking)
Dissolve (filmmaking)