Examine the Functions and Effects of Editing in the Limey – Steven Soderbergh

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Examine the functions and effects of editing in The Limey – Steven Soderbergh The Limey; an ‘unforgettable meditation on revenge and regret’ (Holt, 2002, p306), is described as Soderbergh’s ‘most haunting and stylistically impressive work to date’ by Jennifer Holt (2002, p302). Soderbergh’s history of directing and screenwriting has created a huge collection of exceptionally and uniquely edited films, making him ‘one of the toughest directors to nail’, as stated in Interview Magazine, 1998 (Cited in: Holt, 2002). This essay will discuss the functions and effects of editing in Steven Soderburgh’s The Limey. The Limey, released in 1999, is subject to Soderbergh’s brilliant work as an independent director, and breaks many ‘rules’ of film making (Holt, 2002), creating a new and innovative film. Soderbergh’s contemporary filmmaking style in The Limey, breaks with the classic Hollywood continuity editing structure, making viewers feel uncomfortable with the distancing editing and construction; Soderbergh (1999) stated ‘I tend to keep looking for things that I haven’t done before’. This discontinuous editing throughout The Limey may arguably disconnect some viewers from the story or characters. The stylized use of sound overlay is another technique used by Soderbergh to disconnect the audience from the image and speech, adding to the discomfort of a broken Hollywood continuity structure. Another key element within the editing of The Limey is the use of colour strands fragmented throughout. This subtly links different parts of the film together, allowing the audience to make connections of their own about the events and characters. The Limey contains numerous functions and effects of Soderbergh’s editing style, allowing the audience to empathize with the characters, as well as being distanced by the discontinuous structure. The Limey follows Terrence Stamp as

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