The Devil Cuts and Edits

EDITING

“The power and art of film editing lie in the ways in which hundreds and thousands of discrete images that make up a film can be shaped to make sense or to have an emotional or a visceral impact” (Corrigan and White, 2015 : 134).

It is shown in this world that for females to get anywhere, according to Emily (‘The Devil Wears Prada’), “you always need to be panicky, nauseous, and suicidal”. The fast, repetitive shots of the same kind of sequence, Miranda arriving and throwing her bag and jacket on Andy’s desk and the overlapping dialogue grabs the “viewers’ attention through the collision between shots” (Corrigan and White, 2015 : 168). This along with the jump cuts of Andy making her way to work add together to make a sense of an almost parallel day to day work schedule. These two sequences, the swift monotonous shots and the jump cuts through editing, show an enormous desire and effect on Andy needing to give in to social normalities. Emily, who used to be the second assistant, has progressed past all the tedious jobs and stressful fast-paced lifestyle and is now this glamorous and perfect image in the fashion world. She is portrayed as high and mighty in regards to social expectations of females; skinny, fast-working, and fashionable. The way these shots are edited together creates a presentation that conforming to social expectations for females, especially in the fashion world, is such a glamorous thing and completely worth all the effort and time put into the work. For Emily, it was Paris; while for Andy, it was to be able to get a journalism job anywhere in the world.

In the beginning sequence, accessed here, where Andy and four other women are shown getting ready, the editing of the juxtaposed shots “generate emotions and ideas through the construction of patterns of seeing” (Corrigan and White, 2015 : 161) and creates a kind of sense that the social normalities are overshadowing the minorities of females out-casted in terms of societal standards. The sandwiching of the close up shots provides viewers with examples of gorgeous and sexy women in society and who they are in comparison with Andy. The way the editing has been done, showing four different similar views of the way women ‘should’ be getting dressed in contrast with Andy’s non-sexy version, solidifies the image of what the social expectations of females are and how Andy does not align to these social normalities. Accompanied by Ann Marie O’Brien undergraduate paper, “Mirror, Mirror on the Wall, Who’s the Thinnest of Them All?” (2012) located here, the different shots of Andy and the unknown women projects “women with images that portray what our society considers to be the ‘ideal” (O’Brien, 2012 : 1) female, while comparing it to an unfavorable vision of females. O’Brien talks about the unrealistic expectations women are given to be this perfect image in the eyes of society.

Work cited:

Corrigan, Timothy and Patricia White, The Film Experience: An Introduction. 4th Edition, Bedford/St. Martin’s, 2015. Print.

“The Devil Wears Prada” Dir. David Frankel. 2006. Film

“Devil Wears Prada Scene: Coat Montage”. Yahoo Video. 20 Dec 2012 – 22 Apr 2016. Accessed at https://www.yahoo.com/movies/video/devil-wears-prada-scene-coat-021500963.html 

http://www.debate.org/opinions/are-the-beauty-standards-set-for-todays-women-healthy  (Debate Blog, no name, no date)

“Devil Wears Prada : Suddenly I See”. YouTube. Web Video. 4 Mar 2014 – 22 Apr 2016. Accessed at https://www.youtube.com/watch?v=_5UcNqMHz4o&feature=youtu.be

O’Brien, Ann Marie, “Mirror, Mirror on the Wall, Who’s the Thinnest of Them All?”, 2012. Accessed at http://digitalcommons.providence.edu/auchs/2012/panela2/3/

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