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Shaping Edits, Creating Fractals

We investigated physical changes over three versions in the production
of the short historical drama, Woman with an Editing Bench (2016,
The Physical TV Company). Pearlman, the film’s director and editor, had also
written about the work that editors do to create rhythms in film (Pearlman
2016), and, through the use of computational techniques employed previously
(Cutting et al. 2018), we found that those descriptions of the editing process
had parallels in the physical changes of the film as it progressed from its first
assembled form, through a fine cut, to the released film. Basically, the rhythms
of the released film are not unlike the rhythms of heartbeats, breathing, and
footfalls—they share the property of “fractality.” That is, as Pearlman shaped a
story and its emotional dynamics over successive revisions, she also (without
consciously intending to do so) fashioned several dimensions of the film—
shot duration, motion, luminance, chroma, and clutter—so as to make them
more fractal.