New mediums and genres are often held back not just by the conceptual limitations of the first to create them, but also because of the conceptual limitations of their audiences. This is not to say that the jump cut is no more than a way to recreate the effects of techniques in other mediums, but instead to recognize the particular value of the jump cut within this form of this medium, and, by extension, to recognize the particular needs and motivations of styles, techniques, and structures within each genre and medium in order to better understand, appreciate, and learn from art. In his video, “Why The Jump Cut Is Here To Stay”, content-creator Dan Olson states, “There is a specific device than can only be acheived by using jump cuts and that is the use of the set as a stage.” In these single-camera confessional videos, the jump cut is often a tool not for temporal-disruptions, but instead to signify that the shot following the jump cut is an aside, to explain the context or to qualify a statement, to impart some specific emotion, or even to create the feeling of a conversation.Ī jump cut is a multipurpose tool that can create the same effect in the video confessional that footnotes, punctuation, bolded or italicized text and visual cut-aways can do for their own media. It might even make it more difficult for the viewer to internalize the content of the video itself.īut neither the argument for the jump cut based on the upholding of a fictionalized reality, nor the practical advantages of the editing technique ever actually acknowledge what the jump cut can contribute to media studies and criticism.
Even if you could create multiple shot angles inside such a space, would it even be worth it to do so? It would cost more, take more time and would most likely not look good. Also, the jump cut allows for creators to break up the recording process into multiple clips, to cover up flubs and mistakes, and to condense the duration of the video itself ensuring a tighter, less expensive, and easier way to make videos. Having multiple cameras running simultaneously is prohibitively expensive for several content producers.
Most vlog creators record content inside a small single room, which doesn’t easily lend itself to repositioning cameras in that same space for multiple camera angles. One could also argue for the jump cut’s dominance in Youtube media based on the efficiency, cost-effectiveness, and ease of the jump cut itself. However, vlogs and video essays are nonfiction, so they’re not burdened by the same need to uphold reality.
The jarring effect of the jump cut undermines the illusion of reality that filmmakers attempt to grant to the narrative it brings the audience out of the story. I could justify my simultaneous dislike for the jump cut’s presence in films and my admiration for its use in vlogs because the former tend to be fictional narratives, while the latter is almost universally nonfiction.
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