Determine the Speed at Which Events

Determine the Speed at Which Events Move Along
At the simplest level, editing determines the pace, and so the mood, of a film in three different ways:

The editor determines the duration of a shot. Generally, the longer the shot duration, the slower the pace.
The editor can decide what goes in or out of a sequence. In Lawrence of Arabia (Great Britain, 1962), in one of the most famous cuts in British filmmaking, instead of showing T. E. Lawrence travel from his safe office in Cairo to the desert, we see him extinguish a match in that office, cutting immediately from a close-up of the match light in a cramped office to the gloriously epic establishing shot of the desert and the desert sun.
The kind of edit between shots determines speed. The slow dissolve can leave us lingering on a disappearing image for several seconds (for example, the last shot of Psycho [1960], when Norman Bates's face slowly becomes superimposed on the skull of his mother). Or the cuts between shots can be very quick: Gunfights at the O.K. Corral tend to cut very quickly between the various participants so that you won't lose a bit of the bloodbath.


Read more: Movies and Film: The Purposes of Editing | Infoplease.com http://www.infoplease.com/cig/movies-flicks-film/purposes-editing.html#ixzz2dX32mWhW

Results (English) 2:

确定哪些事件沿
在简单的水平速度，编辑决定的速度，所以心情，在三种不同的电影：

编辑决定镜头的持续时间。一般来说，拍摄时间长，速度较慢。
编辑器可以决定在从一个序列。在阿拉伯的劳伦斯（英国，1962），在一个英国电影中最著名的削减，而不是显示T.E.劳伦斯从他在开罗的安全处沙漠，我们看到他在办公室的火柴熄灭，切割立即从狭小的办公室一个特写镜头的火柴的光荣史诗建立沙漠和沙漠的太阳射
。这种编辑镜头与镜头之间决定速度。缓慢溶解，会让我们停留在一个图像消失几秒钟（例如，最后拍摄的心理[ 1960 ]，当诺尔曼贝茨的脸慢慢变叠加在他母亲的头颅）。或镜头与镜头之间的削减可能会很快：在OK畜栏枪战倾向于将很快的各个参与者之间，你不会失去一点


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