Secondly, the use of these cuts here is meant to be humorous. Like any montage, we can move quickly through the process efficiently but that's just a practical consideration. Schindler meets with numerous women while his office is being painted. There are two reasons why jump cuts are the appropriate choice for this scene. The camera stays fixed on Patricia (Jean Seberg) but we jump cut multiple times to seemingly random and indeterminate points in the future. On its surface, Breathless is a criminal love story but the expectations one has for such a story are dismantled, one-by-one.Ĭonsider this early scene as we ride in a car with our two lead characters. Vivre La Révolution Jump cuts and the French New WaveThe more contemporary use of the jump cut began with Jean-Luc Godard and his seminal 1960 film Breathless, undoubtedly one of the best French New Wave movies.

Our jump cut definition would be incomplete without giving credit to the French. That is, until the French New Wave came along and threw the rulebook out the window. Shattering that illusion and reminding the audience they were watching a movie was essentially forbidden. This, in theory, would allow the audience to immerse themselves into the film. With the rise of the Studio System in Hollywood during the 1920s to the 1950s, the prevailing approach to filmmaking valued 'invisibility.' Also known as Classical Hollywood Cinema, the goal was to 'hide' the construction of the film. What Méliès was doing with jump cuts is perfect from a novelty perspective but how could filmmakers bring this technique naturally into narrative filmmaking? There were some radical editing techniques collectively known as Soviet Montage happening in Russia, but Hollywood was a different story entirely.

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