Chapter 6 in Film Art: An Introduction discusses editing and how the relationship between shots controls the timing and impact of the action. There are 4 dimensions of film editing: graphic relations, rhythmic relations, spatial relations, and temporal relations.
Shots can be linked via a graphic match, which entails linking shots with similar shapes, color, composition, or movement. Graphic discontinuities can be used to create contrast between shots.
The patterning of shot lengths gives the film its rhythm. Flash frames accent certain actions in a shot, giving weight to that specific action.
Editing can show where characters and objects are in a certain space. The Kuleshov effect, also called constructive editing, cuts together portions of space in a way that implies different emotions depending on what is shown. Another way to show space is analytical editing, which breaks an establishing shot into closer shots.
Editing can control the timing of an action, thus creating an order of events that affect the story, known as chronology. Flashbacks give a glimpse into the past, while flashforwards reveal future events before switching back to the present.
I recently watched Friendship (Andrew DeYoung, 2024), a black comedy about the male friendship between Craig, played by Tim Robinson, and Austin, played by Paul Rudd.
While watching, I noticed that the film makes creative use of temporal relations. In the Toad Trip scene, elliptical editing was used to show an action quicker than it would take in real life.
Craig lies down on the ground to get ready for his trip. We cut to a close up of the toad and we see Craig sit up and lick the toad. We then cut away to T-Boy, and when we cut back to Craig, we catch him at the tail end of lying back on the ground. Finally, we cut back to T-Boy, who has just finished putting the toad back in the carrier and closing the lid.
In this scene, the actions are presented on screen quicker than they would take in real life. The actions of T-Boy are implied because they are nonessential to the scene. The 180 degree rule is also in play during this scene. The camera never crosses the axis of action, and the characters are in a shot/reverse shot sequence.
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