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  3. Although the earliest films in cinema were done in the shot without any editing, cutting is so fundamental to the medium that it

Although the earliest films in cinema were done in the shot without any editing, cutting is so fundamental to the medium that it

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问题     Although the earliest films in cinema were done in the shot without any editing, cutting is so fundamental to the medium that it began to emerge relatively quickly. There was a basic disparity between the amount of film that a camera’s magazine could hold and the evolving desire of filmmakers and audiences for longer and more elaborate story films. Only by editing shots together could longer narrative forms be achieved. A Trip to the Moon (1914), directed by Georges (1861-1938), for example, creates a narrative by assembling a series of scenes, with each scene filmed in a single shot. The edit points occur between the scenes, in order to link them together.
    The Great Train Robbery (1903), directed by Edwin S. Porter (1870-1941), follows a band of western outlaws robbing a train and interrupts the chronology of the action with a cutaway showing the rescue of a telegraph operator whom the outlaws earlier had tied up. Following the cutaway, Porter introduces a second line of action, showing the roundup of a pose and the pursuit of the outlaws. Film historians commonly cite this as an early example of parallel editing, showing two lines of narrative active happening at the same time, although Porter’s use of this device here is ambiguous. It’s not clear that he means for the parallel editing to establish that the two lines of action are in fact happening simultaneously. In other respects, editing in The Great Train Robbery remains very primitive, with cuts used only to join scenes and with no intercutting inside a scene.
    In contrast with Porter,D. W. Griffith (1875-1948) freed the camera from the conventions of stage perspective by breaking the action of scenes into many different shots and editing theseaccording to the emotional and narrative rhythms of the action. Griffith explored the capabilities of editing in the films he made at Biograph studio from 1908 to 1913, primarily the use of continuity matches to link shots smoothly and according to their dramatic and kinesthetic properties. Cutting from full-figure shots to a close-up accentuated the drama, and matching the action on a cut as a character walks from an exterior into a doorway and, in the next shot, enters an interior set enabled Griffith to form filming locations that were physically separated but adjacent in terms of the time and place of the story.
    Griffith became famous for his use of crosscutting in the many "rides to the rescue" that climax his films. In The Girl and Her Trust (1912), for example, Griffith cuts back and forth from a pair of robbers, who have abducted the heroine and are escaping in a railroad pump car, to the hero, who is attempting to overtake them by train. By intercutting these lines of action, Griffith creates suspense, and by shortening the lengths of the shots, he accelerates the pace. Crosscutting furnished a foundation for narrative in cinema, and there is little structural difference between what Griffith did her and what a later filmmaker such as Steven Spielberg (b. 1946) does in Jaws (1975). Griffith extended his fluid use of continuity editing and crosscutting in his epics The Birth of a Nation (1915) and Intolerance (1916). The latter film is a supreme example of crosscutting, which is here used to tell four stories set in different time periods in simultaneous fashion.
What can be inferred from the passage?
选项 A、Camera’s magazine editors, filmmakers and audiences have the same desire for longer and more elaborate story films.
B、Jaws employed a structurally different technique than crosscutting.
C、Steven Spielberg used crosscutting in Jaws.
D、Griffith invented parallel editing.
答案C
解析 由文章最后一段第四句可推出，斯皮尔伯格在Jaws中也使用了交叉剪辑手法。
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