Watch one of the films and look for the different types of match cuts in the film. What sort of visual or narrative information is each match cut conveying?

Watch ONE of the following films:

Pierrot le fou (Jean-Luc Godard, 1965) > available in the LRC at the front desk (#352)
The Man with the Movie Camera (Dziga Vertov, 1929)
Battleship Potemkin (Sergei Eisenstein, 1925)
Breathless (Jean-Luc Godard, 1959)
Tokyo Story (Yasujiro Ozu, 1953)
October (Sergei Eisenstein, 1927)
The Insider (Michael Mann, 1999)
Pulp Fiction (Quentin Tarantino, 1994)
Cries and Whispers (Ingman Bergman, 1972)
8½ (Federico Fellini, 1963)
Vivre Sa Vie (Jean-Luc Godard, 1962)
Cloud Atlas (Tom Tykwer, Andy Wachowski, Lana Wachowski, 2012)
The Tree of Life (Terrence Malick, 2011)
Answer the following questions:
1.What is your reaction to this film? How does it related to the other films you’ve seen so far in this class? (Also post your response to Q. 1 on Moodle — and post a comment)
2.Does the editing overall seem to create continuity or discontinuity? If the editing is mostly creating discontinuity, what is the effect of this on the experience of the film and the meaning that it may have? What is the significance of those moments?
3.Keep track of the types of transitions from shot to shot. Does the editor use one transitional effect more than others? Are the transitions seamless and nearly unnoticeable, or do they call attention to themselves?
4.Look for the different types of match cuts in the film. What sort of visual or narrative information is each match cut conveying?

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