{"id":12856,"date":"2024-08-11T17:35:28","date_gmt":"2024-08-11T15:35:28","guid":{"rendered":"http:\/\/www.16-9.dk\/?p=12856"},"modified":"2024-08-11T17:35:32","modified_gmt":"2024-08-11T15:35:32","slug":"deep-cuts-cross-time-editing","status":"publish","type":"post","link":"http:\/\/www.16-9.dk\/3\/2024\/08\/deep-cuts-cross-time-editing\/","title":{"rendered":"Deep cuts: Cross-time editing in The Idol, Fresh and\u00a0X"},"content":{"rendered":"\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Deep cuts: Cross-time editing in The Idol, Fresh andX\" src=\"https:\/\/player.vimeo.com\/video\/997396494?dnt=1&amp;app_id=122963\" width=\"696\" height=\"392\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<h5 class=\"wp-block-heading\">Through analysis of three contemporary examples, Alexander Kjems Christensen uses this video essay as a study of a seemingly new and perplexing editing technique where the present is intertwined with the future, resulting in a type of cut that favors neither continuity, nor montage. The essay analyzes three very different contemporary examples and uses them to consider the relationship between Hollywood\u2019s narrative principles as opposed to art house cinema\u2019s poetics.<\/h5>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"has-text-align-center\"><strong>* * *<\/strong><\/p>\n<\/blockquote>\n\n\n\n<h2 class=\"wp-block-heading\">Fakta<\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">Film<\/h3>\n\n\n\n<ul>\n<li><em>X <\/em>(2022), dir. Ti West<\/li>\n\n\n\n<li><em>The Idol <\/em>(2023), dir. Sam Levinson<\/li>\n\n\n\n<li><em>Fresh<\/em> (2022), dir. Mimi Cave<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>VIDEO-ESSAY. Film editing can usually be divided into two different approaches: Continuity and discontinuity editing. But what aesthetic possibilities exist between these very different principles, and how can an audiovisual work of art challenge this stark contrast? Alexander Kjems Christensen explores these questions in this video essay, where excerpts from Ti West&rsquo;s <em>X<\/em>, Sam Levinson&rsquo;s <em>The Idol<\/em> and Mimi Cave&rsquo;s <em>Fresh<\/em> serve as the primary examples.<\/p>\n","protected":false},"author":88,"featured_media":12859,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[227],"tags":[561,557,560,558],"_links":{"self":[{"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/posts\/12856"}],"collection":[{"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/users\/88"}],"replies":[{"embeddable":true,"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/comments?post=12856"}],"version-history":[{"count":2,"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/posts\/12856\/revisions"}],"predecessor-version":[{"id":12860,"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/posts\/12856\/revisions\/12860"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/media\/12859"}],"wp:attachment":[{"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/media?parent=12856"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/categories?post=12856"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.16-9.dk\/3\/wp-json\/wp\/v2\/tags?post=12856"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}