For this weeks blog post I chose a scene from one of my absolute favorite childhood movies: The Parent Trap (1998). I limited myself to about the first minute and fifty seconds because it is chalk full of editing. The latter half of this clip is just as spectacular with a significant amount of editing as well, but I will only discuss the first. It appears that this clip begins with a wipe, as the camera travels across the screen in a line while creating a separation between shots. This technique was used primarily in films pre 1960 because they did not have the plethora of technology we have today. Even though The Parent Trap is a 1998 film, the wipe works perfectly at the beginning of this clip. As the girls begin to reminisce about their parents, the viewers gain a sense of where they are, what time of day it is, and are able to see exactly whom they are talking about. Immediately after the picture of their parents is shown, we see a black screen– that should be referred to as a fade– followed by an image of the girls laying in bed talking. It is evident that several cuts are made while the girls are talking, creating a direct change from one shot to the next. A spatial relationship between shots is created via spatial manipulation and intraframe editing. The spatial manipulation utilizes Kuleshov’s effect. The shots are cut in a way that forces the viewer to create a spatial whole themselves. When considering that the two actresses on the screen are the same person, one would assume intraframe editing aided in producing this scene. The rhythmic relations between cuts play a significant role. It starts out with long shots, extending the length of the frame. Once they begin talking about their scheming to switch places, the shots get shorter. This accelerates the clip, creating a feeling of urgency and excitement in the spectator.