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Less frequently, these cascaded Axial Cuts are used for dramatic emphasis without disorienting the audience with their suddenness. This is facilitated by equally fragmented dialogue (or action) that spans multiple shots. In the final scene of Mother India (1957), Mehboob Khan uses two continuous axial cuts to underscore the radicalism and steadfastness of Radha’s turn against her son. This is helped by the similarly structured lines.

Axial Cutting is widely used during moments of high shock for the audience. Multiple Axial Cuts – two or more consecutive ones – are employed when the intensity of an incident or a line are to be effectively conveyed. Usually, in such cases, the camera progressively moves towards the object of shock and each cut is accompanied by progressively pitched sound bites.

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Dramatic Decision: The emphasis, through axial cuts, on a mother's decision to turn against her son in "Mother India". Photo: Special Arrangement

Although the Axial Cut is discussed when two or more of them are used one after the other, the most widespread use of the technique occurs as isolated, single cuts. These individual Axial Cuts are often employed inconspicuously and could be very instrumental in guiding our attention on screen. A cut from a shot of the protagonist amidst a crowd, for example, to a close-up of her could appear seamless with a correctly placed and timed Axial Cut.

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In Alfred Hitchcock's The Birds (1963), both Lydia and the audience discover, at the same time, the brutal manner in which the birds have killed the local farmer. Hitchcock presents the revelation as a series of Axial Cuts whose abruptness, coupled with the gruesomeness of what is shown, reflects and enhances Lydia's (and our) emotional jolt.

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arts, culture and entertainment / cinema

This editorial device is of special interest because it poses a threat to the idea of Continuity Editing, which demands that a technique shouldn't call attention to itself. The Axial Cut, on the other hand, presents itself as an interruption in what might have been accomplished with a smooth and continuous camera movement. By itself, it is an element of shock.

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Clarification: In the "Where to find it" section of last week's column (on Double Exposure), the term "Double Dissolve" should read "Double Exposure".

A cut between two shots that differ primarily by the distance of the camera from the subject or object of interest. The orientation of the camera, however, remains the same. As a result, these two spatially discontinuous shots appear as if they are ‘clipped out' from a continuous shot such as a zoom or a dolly. The apparent effect is that of a disorienting jump in time.