lves we are brought into a fast pace with the band and the people, that finishes with a lakeside jive from the city girl. The edit creates an increasing rhythmic relationship. It gives you the feel of stepping on the gas pedal. It starts at a solid stable shot that in its entirety from still water to still people gives us the feeling of dead calm. Then through the use of the other shots and the dissolve we get the rhythmic sense of increasing speed that finishes at a fevered pace with the city girl.The shots in this edit are spatially continuous. Although the imagery of the city could have been embedded in the city girl’s mind much earlier it’s not a flashback because she is telling the story at the time of the dissolves. We don’t lose any time in the film but instead this creative use of a nondiagetic insert compensates for dialogue. The shot does dissolve into symbolic shots of the city which are very cliche’, but they are actually dialogue for us to understand, rather then visual commentary placed by the director. The dialogue this creates is much stronger than the words the actor could have used for we then relate the images with our feelings of the city, and get something different out of it individually. This edit also contributes to the feel of the film that’s created by the characters. When the husband and wife are shot alone in their environments the pace is for the most part very steady and their emotions are conveyed as deep and methodical. On the other hand when we are shown the city girl or the city they are always at a fevered uneasy pace. This edit blends us between both worlds starting in that of the serenity of nature and shattered by the city girl and her tales of the big smoke.By dissolving these shots and not cut editing them we’re given the sense of being hypnotized instead of being confronted with the city. Throughout the film we are shown the city girl as casting a hypnotic sp...
