영상편집언어에 대한 연구 = A Study on the Language of Editing

다국어 초록 (Multilingual Abstract)

In recent years, editing has emerged as critical component in both video and film production - the final step that shapes the look, pace, and feeling of the finished video program. This is true because editor may improve video program by eliminating excessive and/or reduntant dialogue, by selective editing of inadequate editing, by creative manipulation of the video program's pace and the timing of reactions, by mitigating the weakness of badly directed scenes. Considering the significance of editing recognized to both video and film production, this thesis is written to contribute to understanding the major elements of editing and most fundmental guidelines for effective and invisible editing.
There are major elements which an editor should made decesion have a direct influence on how audience responds to the program material; their interpretation, their emotional reactions. These editing elements are ：1) the selection of shots, 2) the length of shots (cutting rhythm), 3) the moment of changing from one shot to another (cutting point), 4) the transitional devices (cut, dissolve, wipe, fade) and transition speed, and 5) the order of shots (sequence).
In addition, five types of editing which are widely used are also introduced: continuity editing, parallel editing, relational editing, dynamic editing, and thematic(montage) editing. In continuity editing, segments are arranged in a logical and time-based sequence. Parallel editing refers to intercutting two or more events or action together in the same production. Relational editing techniques rely on the tendency of viewers to try to establish a relationship between successive scenes and events. In dynamic editing, cause-effect relationships are often interpretated. In thematic(montage) editing, segments are assembled around a common theme without regard to any logical or time-based considerlations.
Finally, six editing guidelines are discussed:
1) never make a cut without positive reason; 2) whenever possible cut on subject movement; 3) cut away from a scene the moment the visual statement is complete; 4) all scenes should begin and end with continuing action; 5) cut for proper values than proper "continuity"; 6) make the best of insert shots and cutaways.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 샷의 선택(SHOT SELECTION)
• Ⅲ. 샷의 길이(THE LENGTH OF SHOT)
• Ⅳ. 화면 전환(TRANSITION)
• Ⅴ. 샷의 순서(THE ORDER OF SHOTS)
• Ⅵ. 샷의 연속성
• Ⅶ. 결론을 대신하여
• 참고문헌