ABSTRACT
Much has been written suggesting that the art of film is editing,1 and numerous filmmakers from Eisenstein to Welles to Peckinpah have tried to prove this point. However, just as much
has been written suggesting that the art of film is avoidance of editing,2 and filmmakers from
Renoir to Ophuls to Kubrick have tried to prove that point. No one has managed to reconcile these theoretical opposites; this fascinating, continuing debate has led to excellent scholar-
ship,3 but not to a definitive resolution. Both factions, however, work with the same funda-
mental unit: the shot. No matter how useful a theoretical position may be, it is the practical challenge of the director and the editor to work with some number of shots to create a conti-
nuity that does not draw unnecessary attention to itself. If it does, the filmmaker and the edi-
tor have failed to present the narrative in the most effective possible manner.
