The Three Styles of Editing

REALISM - Raise the Red Lantern (1991)

Editing in the realist fashion is, in a sense, the lack thereof; that is, true to its name, realism is realistic. Little to no editing occurs, and cuts typically exist only to bridge scenes. Above is a prime example of realist editing from Zhang Yimou's Raise the Red Lantern; the selection is a sequence shot, meaning it is a single take, static in regards to not only motion but as well focus, lighting, and speed. The duration of Songlian's monologue and the duration of the shot are equal -- there is no editing done at all (or, at least in regards to cutting).

CLASSICISM - En kärlekshistoria (1970)

The classicist style of editing is characterized as a sort of mid-ground between realism and formalism; it entailed cutting for continuity as well as for emotional emphasis and with dramatic intent. Aside from a brief sequence of quick cuts between 0:23 and 0:30, the clip above taken from Roy Andersson's En kärlekshistoria is exemplary of classicist editing in that the cuts between the characters Annika, Pär, and Eva are done with the intention of emphasizing the impact of Pär's initial departure and regretful return.

FORMALISM - The Rocketeer (1991)

Formalism is when specific juxtaposition of cuts is used by a filmmaker to create an emotion that may not be tied to a linear narrative; the filmmaker essentially uses editing to create meaning. This sequence from Joe Johnston's The Rocketeer beginning at 1:09 and ending at 2:30 displays formalist editing as the cuts are not made with respect to real time; the cutting leads to the sequence -- which depicts a full-on battle between mobsters, feds, Nazi spies and a superhero -- taking just over a minute long. This emphasizes the fast-paced nature of the action; were the depicted battle to stretch the length of that of a real gunfight, it would quickly grow boring.