Editing - Analysis Notes
Context – What’s Happening? Clarice is walking along the corridor to meet Crawford, where she receives a task to meet serial killer Hannibal Lecter, in relation to the Buffalo Bill investigation. We then see her going down to his cell in the mental institute which he’s been kept in for 8 years. | Overall Tone / Mood
| Director Intentions
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Focus | Terms | Example (time code) | Meaning / Significance | ||
Continuity of Screen Space |
| Establishing Shot (4.14 - 4.50) - Tracking of Clarice walking through the hallway Match on Action (4.58 - 5.06) Shot Reverse Shot / Eyeline Match (5.55 - 7.51) - Clarice talking to Crawford Establishing Shot (7.53) - The outside of the Asylum Match on Action (9.26 - 10.01) → Chilton recalling the events which happened when Lecter was last let out of his cell
Shot reverse shot (10.45
| The camera follows Clarice, which shows that the scene is from her POV, it could also connote the idea of her being followed or watched. Here, the camera acts as Clarice’s eyes, before the camera cuts to her real reaction of shock and intrigue. This displays her curiosity about the case as well as providing the audience with some context of what the killer has been doing. Both characters are looking directly at the camera (4th wall break), which when cut together displays them looking right into eachothers eyes. They are both framed in the centre of the screen, with a blurred background, so that when the camera cuts back to the other person they are both taking up the same amount of space. Despite their differences in power, this presents the two characters as being equally as engaged in the conversation, and having the same amount of interest in or control over the case. This close up angle of both characters also draws the audience's attention right to them and everything they’re saying, which is especially important when Clarice is receiving the warning about ‘not letting Lecter inside of her head’. Sets the scene, providing more context as to where the characters are and what they are doing. When the two characters approach the camera of this scene the lighting changes to a bright red, this connotes feelings of fear, stress or danger which heavily relate to how Clarice may be feeling in the moment. The camera then cuts to a shot of her looking at the photo which she has been handed displaying her reaction to it, however we don’t actually get to see what the image is of. This infers the graphic nature of the image leaving the audience wondering what it is of and only Clarice’s reaction to base our fear off of.
This pan towards the guard is pictured at a low down angle, suggesting his strength and power. The height difference also reminds the audience that we are seeing Clarice’s point of view, suggesting a lack of trust in the authority figures of this institution (which we have already been suggested via the scene with Chilton and her) as the guard is shown to be very intimidating and almost creepy. | ||
Continuity of Screen Time |
| Focus Pull (5.25 - 5.30) - From Clarice’s side profile to Crawford Parallel Editing (7.40 - 8.30) → conversation between Clarice with both Crawford and Chilton | This simple yet effective movement turns the attention of the audience to Crawford, as he enters the room. This suggests his power or importance, especially to Clarice, who has just directed all of her focus towards him. The camera then continues to follow him around the room as if we are in the head of Clarice, causing the audience to pay attention to him, as what he is saying is very important. Both scenes feature Clarice talking to the character who is seated behind a desk, while she is standing in front of them. The difference between the two conversations is through the shots of Clarice, who is not matching the eyeline of Chilton during their scene. While they are both pictured in the centre of the screen with a blurred background, much like in the previous scene, Clarice is looking off to the side instead of directly at the camera. This insinuates that Clarice has less respect for him than she does with Crawford, or that she simply does not trust him. It could also be used to display her eagerness to see Lecter which presents her as being focussed and inquisitive.
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Montage |
| Compression of time (8.34 - - The camera follows Clarice and Chilton as they make their way down towards Lecter’s cell | This specific part of the sequence uses differing angles to show the distance which the two have walked through the Asylum in order to get to Lecter. This helps to signify how dangerous he is, as we can clearly see how far away he is being kept from all others in the mental hospital. This is further displayed through the number of doors and guards and stairwells which they have to go through, as well as all of the instructions which she is being given while they’re walking, which could seem very intimidating to her. | ||
Rhythm & Transitions |
| Slow Motion Zoom in, on Clarice (4.58 - 5.02) Jump cut (7.50 - 7.55) Pan around the room (10.27 - 10.50) | Clarice has just noticed the pin board filled with clues, this signifies her shock and interest in what’s on the board, as well as connoting its importance. Here the camera cuts off Clarice very abruptly after she asks the question “and what is he?” This leaves the audience questioning and helps to foreshadow the danger which is about to unfold between her and Lecter. The camera then cuts to the next scene of Clarice speaking to Chilton where he begins by saying ‘he is a monster’ This not only answers our previous question but displays this statement as being common knowledge or known by everyone. In this shot the camera acts as Clarice’s eyes, once again, displaying her detective skills and inquisitiveness. This pan allows us to see small details hidden within the scene, such as images on the walls or the vast number of guns. By drawing the audience’s attention to these details, we are once again presented with a foreshadowing of danger through the meeting between Lecter and Clarice. | ||