Editing favors duration over montage. Long takes where nothing dramatic happens force attention into small acts: stirring, waiting, listening. Time stretches so that viewers inhabit the pause. When cuts do come, they splice memory into present: a child’s laughter interrupts the sound of a kettle; a black-and-white photograph dissolves into a living room in late afternoon. The rhythm is cyclical — return, recognition, revision.
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Chapter 4 – The Second Vision – A Warning Editing favors duration over montage
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