As Cary Grant pulls Eva Marie Saint up from Mount Rushmore, the cut then goes to him pulling her up to his bunk on the train. Ī match cut occurs at the end of Alfred Hitchcock's North by Northwest.
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This technique allows for a rather sound montage, moving from a boy burning in fire in the movie they are watching, to the fire dissolving, and finally, to a rectangular faded glass pane as the camera rolls back and reveals the entire carriage. The cut starts from a movie screen, which the couple Apu and Aparna are watching, to the windowpane of the carriage they are returning home in. One earlier use of the match cut is shown in Satyajit Ray's film, The World Of Apu (1959). The edit was later praised by Steven Spielberg as inspiration for his own work. Director David Lean credits inspiration for the edit to the experimental French New Wave. Īnother match cut comes from Lawrence of Arabia (David Lean, 1962) where an edit cuts together Lawrence blowing out a lit match with the desert sun rising from the horizon.
#JUMPCUT DEFINITION SERIES#
The scene contains a number of match cuts as the protagonist's surroundings change sharply around him several times: at one point he dives off a rock into the sea but lands in a pile of snow on a hillside.Īnother early example is Orson Welles's Citizen Kane (1941), which opens with a series of match dissolves that keeps the titular character's lit window in the same part of the frame while the cuts take viewers around his dilapidated Xanadu estate, before a final match dissolve takes viewers from the outside to the inside where Kane is dying. The sense of time passing but nothing changing is emphasised by having the same actor, in different costumes, looking at both the falcon and the aeroplane.Īn early Hollywood example of the technique is the dream sequence in Buster Keaton's 1924 fourth feature film, Sherlock Jr. Michael Powell and Emeric Pressburger's A Canterbury Tale (1944) is a predecessor for the 2001: A Space Odyssey match cut in which a fourteenth-century falcon cuts to a World War II aeroplane. The satellite is unidentified in the film, but the novel makes it clear that it is an orbital weapon platform, thus linking with the use of the bone as a weapon. The match cut helps draw a connection between the two objects as exemplars of primitive and advanced tools respectively, and serves as a neat summary of humanity's technological advancement up to that point. As the bone spins in the air, there is a match cut to a much more advanced tool: an orbiting satellite. After an ape discovers the use of bones as a tool and a weapon, he throws one triumphantly into the air. Stanley Kubrick's 1968 film 2001: A Space Odyssey contains a famous example of a match cut. Notable examples A bone-club and a satellite in orbit, the two subjects of the iconic match cut in 2001: A Space Odyssey. Ī match cut contrasts with the conspicuous and abrupt discontinuity of a jump cut. A match cut often involves a graphic match, a smooth transition between scenes and an element of metaphorical (or at least meaningful) comparison between elements in both shots.
Indeed, rather than the seamless cuts of continuity editing within a scene, the term "graphic match" usually denotes a more conspicuous transition between (or comparison of) two shots via pictorial elements. Even within continuity editing, though, the match cut is a contrast both with cross-cutting between actions in two different locations that are occurring simultaneously, and with parallel editing, which draws parallels or contrasts between two different time-space locations.Ī graphic match (as opposed to a graphic contrast or collision) occurs when the shapes, colors and/or overall movement of two shots match in composition, either within a scene or, especially, across a transition between two scenes. Continuity editing smooths over the inherent discontinuity of shot changes to establish a logical coherence between shots. Match cuts form the basis for continuity editing, such as the ubiquitous use of match on action. This is a standard practice in film-making, to produce a seamless reality-effect. The cut matches the two shots and is consistent with the logic of the action. For example, in a duel a shot can go from a long shot on both contestants via a cut to a medium closeup shot of one of the duellists.
In film, a match cut is a cut from one shot to another where the composition of the two shots are matched by the action or subject and subject matter.
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