Crogan, "Editing (And) Individuation."

The article detailed on this page can be located at the link below for students of the University of Illinois.
http://search.ebscohost.com.proxy2.library.illinois.edu/login.aspx?direct=true&db=a9h&AN=86042083&site=ehost-live
== Abstract ==
Crogan uses this essay to discuss the psychological effects that film, and particularly film editing, have on an individual. He refreshes some of the key concepts of film and film editing in his analysis, and studies how individual people can react to different stimulus in film.
== Key Concepts ==
Crogan analyzes the synchronisation and diachronisation of film editing. As Crogan puts it, synchronisation occurs when film editing conforms to the standards of common film practices. This synchronisation makes the audience comfortable and allows them to adjust to the media they are watching. Diachronisation on the other hand is when film editing does not conform to the standards. This divergence from the norm creates a psychologically unsettling effect in the audience and makes them analyze what they’re watching more.
== Examples ==
The Mean World Syndrome - Media As Storytellers (Extra Feature)
Summary: This video describes the effects that media has had on our culture, dating as far back as history itself.thumb|453x453px
== Further Readings ==
==== “The new jump cut.” ====
Authors: David Ansen and Ray Sawhill.
Abstract: Looks at the advent of digital film editing on
computers. How it has been waging a quiet revolution in the world of Hollywood filmmaking since 1992; How it has transformed the way movies are assembled, and broadened the definition of film editing; The two digital systems, Avid and Lightworks; The blurring of editing, cinematography, and production design; Prediction that digital images will begin to match the subtlety and richness of film by the year 2006.
http://search.ebscohost.com.proxy2.library.illinois.edu/login.aspx?direct=true&db=a9h&AN=9608277691&site=ehost-live
==== “Perceiving Movement Across Film Edits: A Psychocinematic Analysis.” ====
Authors: Arthur P Shimamura, Brendan Cohn-Sheehy, and Thomas Shimamura,
Abstract: Film editors have developed techniques that create seamless, virtually invisible, shot transitions. One technique is the match-action edit in which a cut occurs in the middle of an action. We assessed the way smooth movement is perceived across such edits. Participants viewed an action (e.g., woman drinking a mug) that included an edit that either ran in real time (straight cut), jumped ahead in time, or overlapped the action. When asked to select the clip with the smoothest movement, participants chose clips that contained a brief overlap in action (~125 ms). When a pattern mask was inserted between shots, the overlap bias persisted and even occurred when the same camera angle was used across the edit. These findings suggest that film edits disrupt cognitive processing such that viewers act as if they are momentarily "blind" and must be shown a repetition of the action to perceive smooth movements.
http://search.ebscohost.com.proxy2.library.illinois.edu/login.aspx?direct=true&db=a9h&AN=94855406&site=ehost-live
==== The Potency of Film Editing: Rose Hobart Stop Return. ====
Author: Janet Harbord
Abstract:
The article focuses on the use of editing as a stage in film production. Topics
discussed include the editing process used Esfir Shub, director of film company
Goskino, in the 1925 film "Strike!" in collaboration with firm editor Sergei Eisenstein, the editing of the film "Rose Hobart" by artist Joseph Cornell which has been exhibited at an art gallery in New York in 1936, and the role of editing in people's engagement with audio-visual culture.
http://search.ebscohost.com.proxy2.library.illinois.edu/login.aspx?direct=true&db=a9h&AN=100953699&site=ehost-live
==== Jason Wishnow and Kari Mulholland: How we shoot and edit TEDTalks ====
Summary: This TEDTalks discusses how TEDTalks are filmed and edited to create cohesion for the audience.
thumb|480x480px
==== TEDxParkerSchool- Casey Neistat - Embracing Your Limitations and Making Movies ====
Summary: This TEDTalks discusses how filmmakers can create their films on a low budget, and find an audience for those films.
thumb|480x480px
== Relevant Key Words ==
Film
Editing
Editing Software
Video Editing
== Citations ==
Ansen, David, and Ray Sawhill. "The New Jump Cut."
Newsweek 128.10 (1996): 64. Academic
Search Complete.
Harbord, Janet. "The Potency Of Film Editing: Rose
Hobart Stop Return." Contemporary
Theatre Review 25.1 (2015): 68-72. Academic Search Complete. Web.
"Jason Wishnow and Kari Mulholland: How We Shoot and Edit TEDTalksâ¬." YouTube.
YouTube, 13 Oct. 2011. Web. <https://www.youtube.com/watch?v=rf_Lm5IEmb4>.
LoBrutto, Vincent. "Invisible" or "Visible" Editing: The Development of Editorial Styles and
Strategies Cinéaste, Vol. 34, No. 2  (SPRING 2009),
pp. 43-47 Cineaste Publishers, Inc. Web.
Shimamura, Arthur P., Brendan I. Cohn-Sheehy, and Thomas A.
Shimamura. "Perceiving
Movement
Across Film Edits: A Psychocinematic Analysis." Psychology Of Aesthetics,
Creativity & The Arts 8.1 (2014): 77-80. Academic Search Complete. Web.
"TEDxParkerSchool - Casey Neistat - Embracing Your Limitations and Making Movies."
YouTube. YouTube,
21 June 2012. Web. 12 May 2015. <https://www.youtube.com/watch?v=bs2JAyEdmXA>.
"The Mean World Syndrome - Media As Storytellers (Extra Feature)." YouTube. YouTube, 18
Feb. 2010. Web. <https://www.youtube.com/watch?v=ylhqasb1chI>.