The cutting in the introduction of Election is interesting as its a device used to set up the characteristics of two of the main characters. Simply put, the shots of Broderick's character juxtapose those of Witherspoon's in there pacing. When Broderick is on screen the shots are often long takes that utilizing movement, replacing the need to cut by following his action in sweeping motions. Contrasting this are those in which Witherspoon appears, her actions are captured by static shots that cut frequently to follow her actions. The fast cutting of Witherspoon's character against the slow, methodical cutting of Broderick's emphasizes each respective motif and suggest two contrasting personalities.
There is a large number of wide shots that feature Broderick in the opening to the film, possibly to suggest a clearness of mind, a contrast to the exclusive close up's of Witherspoon's character during this opening sequence. With these wide shots comes a slow pace of editing again, suggesting a calmness that Witherspoon's character lacks. The shot directly below depicts the steady beat of a sprinkler, perhaps a metaphor for the mental stability the protagonist believes himself to have.
If the sprinkler from the previous shot had metaphoric meanings then perhaps the shot below, depicting Broderick squeezing through the walkway has several interpretations, potentially passing comment on the transition from his personal to school persona. While this may not be the exact intended interpretation, aside from being an interesting shot and establishing that he's at some kind of school sports ground, I'm sure Payne had further meaning behind his decision to include such a shot.
After the lethargic cutting up until now depicting Broderick's morning routine, the intense piece of cutting that follows, highlighting Wetherspoon's morning activities, is all the more emphasised. So much is it exaggerated that there are actually five shots of legs extending for a table that has the conventional four. Alexander Payne makes use of two jump cuts in this sequence to further quicken the pace of the action and further exaggerate the characters ferocious intent.
The examples below are all shots that contain camera movement that follows Broderick's motion, allowing one take to suffice in capturing all the action. This very long take is made all the more meaningful since it follows a sequence that includes such fast cutting.
Another shot type that Payne employs is the POV. As the film is about the way in which the protagonist see's himself, the use of a couple of POV shots very early on in the film is a thought and theme provoking decision.
There is a large number of wide shots that feature Broderick in the opening to the film, possibly to suggest a clearness of mind, a contrast to the exclusive close up's of Witherspoon's character during this opening sequence. With these wide shots comes a slow pace of editing again, suggesting a calmness that Witherspoon's character lacks. The shot directly below depicts the steady beat of a sprinkler, perhaps a metaphor for the mental stability the protagonist believes himself to have.
If the sprinkler from the previous shot had metaphoric meanings then perhaps the shot below, depicting Broderick squeezing through the walkway has several interpretations, potentially passing comment on the transition from his personal to school persona. While this may not be the exact intended interpretation, aside from being an interesting shot and establishing that he's at some kind of school sports ground, I'm sure Payne had further meaning behind his decision to include such a shot.
After the lethargic cutting up until now depicting Broderick's morning routine, the intense piece of cutting that follows, highlighting Wetherspoon's morning activities, is all the more emphasised. So much is it exaggerated that there are actually five shots of legs extending for a table that has the conventional four. Alexander Payne makes use of two jump cuts in this sequence to further quicken the pace of the action and further exaggerate the characters ferocious intent.
The examples below are all shots that contain camera movement that follows Broderick's motion, allowing one take to suffice in capturing all the action. This very long take is made all the more meaningful since it follows a sequence that includes such fast cutting.
Another shot type that Payne employs is the POV. As the film is about the way in which the protagonist see's himself, the use of a couple of POV shots very early on in the film is a thought and theme provoking decision.
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| A POV from Broderick's perspective |
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| A POV from the janitor's perspective |
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