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46 Cards in this Set

  • Front
  • Back
true or false? intuition is the same thing as instinct.
false
people are born with _____, but _____ is something we develop over time, through experience
instincts; intuition
_____ is an essential support to intuition
explicit knowledge
the more that is _____, the more readily accessible intuitive responses will be
explicitly known
The six types of thinking that are at work when people say "intuition" (EIJSCR)
(1.) expertise, (2.) implicit learning, (3.) judgment, (4.) sensitivity, (5.) creativity, (6.) rumination
the unreflective execution of intricate skilled performance
expertise
an example of this is when a professional editor uses their gear and doesn't have to think about which button to push in order to do an operation
expertise
a matter of knowing your gear of choice so expertly that its operation doesn't require conscious thought
expertise
the acquisition of expertise by non-conscious or non-conceptual means
implicit learning
a lot of _____ about editing is acquired by watching films; there are conventions that show up often, and even though an editor may not know the names of these conventions or techniques, they have seen them enough to know what they are without ever having consciously learned them
implicit learning
making accurate decisions and categorizations without, at the time, being able to justify them
judgment
what is at work whenever an editor makes an adjustment to a cut and it works better; implies making good decisions without going through the process of justifying them
judgment
a heightened attentiveness, both conscious and non-conscious, to details of a situation
sensitivity
an editor has _____ or heightened attentiveness to movement and emotion in the material; developing this is a matter of learning to see the potential of movements and moments before they are shaped
sensitivity
developing _____ is a matter of learning to see the potential of movements and moments before they are shaped
sensitivity
the use of incubation and reverie to enhance problem solving
creativity
editing _____ is the lateral association of images or sounds to solve the problem at hand, which is shaping the film and its rhythms
creativity
the process of "chewing the cud" of experience in order to extract its meanings and its implications
rumination
the kind of thinking that happens when you're thinking about something else, and you have immersed yourself so deeply in your material that it inhabits a part of your brain even when you're not actually looking at it or working on it
rumination
true or false? intuition is something you just have
false
true or false? intuition isn't something you just have
true
_____ is something that can be developed and enhanced, and even acquired through practical and theoretical experience and education
intuition
an editor learns where and when to cut to make rhythm from what two sources?
(1.) the rhythms of the world that are experienced by an editor, and (2.) the rhythms of the body that experiences them
an editor learns where and when to cut to make rhythm from these two sources: (1.) the rhythms of the _____ and (2.) the rhythms of the _____
world; body
the world's external rhythms are a primary source of knowledge about rhythm in film, because they
are the rhythms that frame our existence, expectations, and knowledge of the movement of time and energy in life
if we actively see and hear the world's rhythms, what we are actually seeing, hearing, and feeling is _____
movement
as living beings, editors inherently have some knowledge of rhythms of the world, but it is also possible for them to develop and enhance their rhythmic intuition by engaging an _____ awareness of rhythms of the world through the perception of movement of energy and time
active
the _____, or raw material of a given film project, are the immediate source of information that feeds the editor's rhythmic intuition about a particular project and its rhythmical world
rushes
the editor finds specific cues to rhythmic possibilities in the uncut material in the _____ inherent in the recorded images and sounds; may within the frame, around the frame, etc. but also of events or emotions
movement
an editor who is shaping a rhythm in the editing process directs their attention to the shaping of _____ in the images and sound, because _____ is the visible and audible manifestation of energy and time
movement
feeling ~with~ the movement, a sensitivity developed by perceiving and being in movement
kinesthetic empathy
the idea that our physical response to movement is based on direct or indirect experience of movement, the history of our individual bodies in movement, and physically innate reflexes connected to protection from movement or pleasure in movement
kinesthetic empathy
the concept that certain nerve cells are activated both during an activity and while observing another person performing the activity
mirror neurons
neurologically speaking, when we physically participate in the movement of people we see, even if we are sitting still
mirror neurons
true or false? the editor's own internal rhythms must come into play to shape rhythm through an editing process
true
true or false? as editors begin to do more than neurologically imitate existing rhythms, they draw on rhythms inside themselves, as well as those things captured in the rushes, to create the film's rhythms
true
the intuition about what feels right, and what doesn't, comes, in part, from _____ doing their work of interpreting intentions in movement
mirror neurons
true or false? the rhythms of an editor's body act on the material of the film's rushes in a very direct, physical way
true
the "three knowledges" an editor works with
(1.) knowledge of the world, (2.) knowledge of the body, (3.) knowledge of the craft
as editors continue to refine their cuts, they use their mirror neurons and kinesthetic empathy to relay the _____ rhythms, which they perceive in the developing edits, through their _____ rhythms, to create the rhythm of the film
external; internal
a question that an editor can employ consciously as a strategy for giving rhythmic intuition a structure to work within is
"to what rhythm am I comparing the rhythm of this edit?"
a mode of thinking that includes creativity, expert judgment, sensitivity, and "unreflective execution of intricate skilled performance"
intuition
specific learning supports that intuition about the creation of rhythms in film editing is acquired through (1.) living in a rhythmic _____ and (2.) in a rhythmic _____
body; universe
specific learning supports that _____ about the creation of rhythms in film editing is acquired through (1.) living in a rhythmic body and (2.) in a rhythmic universe
intuition
true or false? we cannot sensitize ourselves to the rhythms of the world and of the body to expand and enhance our intuitions about cutting rhythms
false
true or false? we can sensitize ourselves to the rhythms of the world and of the body to expand and enhance our intuitions about cutting rhythms
true