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Contemporary use of the jump cut largely stems from its appearance in the work of Jean-Luc Godard (at the suggestion of Jean-Pierre Melville) and other filmmakers of the French New Wave of the late 1950s and 1960s.

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Dziga Vertof's avant-garde Russian film Man With a Movie Camera (1929) is almost entirely composed of jump cuts.

The effect was used in the early film The Tempest (1908) when Ariel magically disappears and reappears. Georges Méliès is known as the father of the jump cut, as a result of having discovered it accidentally and then using it to simulate magical tricks however, he tried to make the cut appear seamless to complement his illusions. This cut from one shot to another in Jean-Luc Godard's Breathless makes the subject appear to 'jump' abruptly. Jump cuts can add a sense of speed to the sequence of events. Jump cuts, on the other hand, keep the camera's relationship to the subject the same but jump forward in time in the action.Īlthough jump cuts can be created through the editing together of two shots filmed non-continuously (spatial jump cuts), they can also be created by removing a middle section of one continuously filmed shot (temporal jump cuts). Generally, if the camera position changes less than 30 degrees, the difference between the two shots will not be substantial enough, and the viewer will experience the edit as a jump in the position of the subject rather than a change of point of view, which is jarring. The idea is to convey to the viewer a different point of view on the action but with the timeline of the action being continuous. Some schools would call for a change in framing as well (e.g., from a medium shot to a close up). The 30-degree rule advises that for consecutive shots to appear seamless and continuous in time, the camera position must vary at least 30 degrees from its previous position. More than one jump cut is sometimes used in a single sequence.Ĭontinuity editing uses a guideline called the ' 30-degree rule' to avoid the appearance of jump cuts. Jump cuts tend to draw attention to the constructed nature of the film. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing, but are sometimes nonetheless used for creative purposes. This kind of cut abruptly communicates the passing of time as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard's Breathless, which made extensive use of jump cuts and popularized the technique during the 1960s. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. Camera positions of the subject in the remaining pieces of footage of the sequence should vary only slightly in order to achieve the effect. JSTOR ( March 2010) ( Learn how and when to remove this template message)Ī jump cut is a cut in film editing in which a single continuous sequential shot of a subject is broken into two parts, with a piece of footage being removed in order to render the effect of jumping forward in time.Unsourced material may be challenged and removed.

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