Continuity editing, a standardized method of assembling shots in order to coherently tell a story, has been around almost as long as narrative cinema itself, and its conventions are still widely practiced around the world. In our latest episode of Observations on Film Art, now playing on the Criterion Channel on FilmStruck, scholar Jeff Smith walks us through the basics of this editing style, using a classic work of studio filmmaking as an example. William Dieterle’s 1941 film The Devil and Daniel Webster, a Faustian fever dream about a hard-working farmer who strikes an infernal bargain, shows that the “rules” of continuity editing need not be artistically constraining. As Smith illustrates, Dieterle and his editor Robert Wise—who was about to embark on his own directorial career—manage to adhere to norms of Hollywood-style cutting while also testing the limits of its dramatic potential, making richly expressive use of such garden-variety techniques as crosscuts and dissolves. Get a taste of the program in the above introduction, then head over to watch it in its entirety alongside our edition of the film.
Alex Ross Perry Pays a Visit to Great American Iconoclast Paul Schrader
On the set of his latest film, First Reformed, writer-director Paul Schrader reflects on the art of cinema and his uncompromising explorations of sin, guilt, and faith.
Carl Theodor Dreyer’s Most Unusual Experiment
In the latest episode of Observations on Film Art, scholar David Bordwell examines the deeply strange horror film Vampyr, which uses popular material as a springboard for innovations in mood and technique.