{"id":70453,"date":"2022-04-04T09:00:00","date_gmt":"2022-04-04T14:00:00","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=70453"},"modified":"2022-04-04T13:21:46","modified_gmt":"2022-04-04T18:21:46","slug":"parallel-editing-hollywood-way","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/parallel-editing-hollywood-way\/","title":{"rendered":"Master the Hollywood Technique of Parallel Editing"},"content":{"rendered":"\n

Parallel editing is a powerful tool. Here are classic Hollywood examples of the technique that will help you pull it off.<\/h2>\n\n\n\n

One technique tends to stand out from the myriad of editing techniques used by pros\u2014parallel editing,\u00a0a.k.a. cross-cutting. This editing technique is the process of alternating between two or more scenes that happen simultaneously in different locations within the world of the film. <\/p>\n\n\n\n

With most films that utilize parallel editing, the corresponding scenes will eventually meet or have some connecting action.<\/p>\n\n\n\n

To learn how to utilize this powerful technique, let’s look back at some of the best examples from cinematic history. From there, we’ll determine the value<\/em> of using parallel editing and when<\/em> it should be utilized.<\/p>\n\n\n\n

First, a brief history of parallel editing<\/strong>.<\/p>\n\n\n\n

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Parallel Editing: A Brief History <\/h3>\n\n\n\n

In just about any film class, the first example of parallel editing\u00a0<\/strong>you’ll learn is from 1903’s The Great Train Robbery<\/a><\/em>. In this film, director Edwin S. Porter<\/a>\u00a0and his editor utilize the technique of parallel<\/strong> editing<\/strong> to build suspense and cinematic flow.<\/p>\n\n\n\n

This technique was also used to give additional exposition to the film’s narrative.<\/p>\n\n\n\n

\"Black<\/a>
Scene from<\/em> The Great Train Robbery via Edison Manufacturing Company<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n

In 1915’s Birth of a Nation<\/a><\/em>, director D.W. Griffith<\/a> uses parallel<\/strong> editing<\/strong> to build dramatic tension and build the relationships of characters within the world. The use of this technique was incredibly well done in the film, and is widely-regarded (in terms of historical value) as it was one of the first films to have simultaneous action. <\/p>\n\n\n\n

However, Griffith’s groundbreaking techniques would be overshadowed by the rightful criticism of the film’s controversial depiction of slavery and racism.<\/p>\n\n\n\n

\"Black<\/a>
Scene from the film<\/em> Intolerance<\/a>\u2014D.W. Griffith’s second film after <\/em>Birth of a Nation. Image via Triangle Distributing Corporation<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n

Griffith isn’t the only filmmaker to use parallel editing<\/strong>. Filmmakers such as John Ford<\/a>, Steven Spielberg<\/a>, Stanley Kubrick<\/a>, Martin Scorsese<\/a>, and Christopher Nolan<\/a> utilize parallel editing<\/strong> almost routinely today.<\/p>\n\n\n\n

So, where is the value of parallel editing, and when should it be used? Let’s look at these two questions and try to find some answers.<\/p>\n\n\n\n

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Where’s the Value?<\/h3>\n\n\n\n

The value in using\u00a0parallel editing<\/strong> is that the technique adds another layer of suspense or pacing to the narrative. A good example of this value can be seen in The Godfather<\/a><\/em>.<\/p>\n\n\n\n

Here, director Francis Ford Coppola<\/a> knew that a scene where Michael Corleone stands watch at a baptism could bring the film’s pacing to a halt.<\/p>\n\n\n\n

\"Scene<\/a>
Scene from<\/em> The Godfather via Paramount Pictures<\/a>.<\/em><\/figcaption><\/figure>\n\n\n\n

To showcase the contrast between Michael’s declaration and what he has asked his henchmen to do, Coppola utilizes parallel editing<\/strong>. This increases the pacing and tempo of the scene and, in turn, makes the baptism portion of the scene much more powerful.<\/p>\n\n\n\n

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