A jump cut is a cut in film editing in which two sequential shots of the same subject are taken from camera positions that vary only slightly. This type of edit causes the subject of the shots to appear to "jump" position in a discontinuous way. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing. Jump cuts, in contrast, draw attention to the constructed nature of the film.

Continuity editing uses a guideline called the "30 degree rule" to avoid jump cuts. The 30 degree rule advises that for consecutive shots to appear "seamless," the camera position must vary at least 30 degrees from its previous position. Some schools would call for a change in framing as well (e.g., from a medium shot to a close up). Generally, if the camera position changes less than 30 degrees, the difference between the two shots will not be substantial enough, and the viewer will experience the edit as a jump in the position of the subject that is jarring, and draws attention to itself. Although jump cuts can be created through the editing together of two shots filmed non-continuously (spatial jump cuts), they can also be created by removing a middle section of one continuously-filmed shot (temporal jump cuts).

Jump may refer to:

Cut may refer to:

Jean-Luc Godard (French pronunciation: [ʒɑ̃lyk ɡɔdaʁ]; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement La Nouvelle Vague, or "New Wave".

Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality", which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation." To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.^{[citation needed]} He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views.His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism, as he was an avid reader of existential and Marxist philosophy.^{[citation needed]} His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.

Jean-Paul Belmondo (born 9 April 1933) is a French actor initially associated with the New Wave of the 1960s.

Born in Neuilly-sur-Seine, Hauts-de-Seine, west of Paris, Belmondo did not perform well in school, but developed a passion for boxing and football. Belmondo had a brief, undefeated amateur boxing career from 1949-1950. "Did you box professionally very long?" "Not very long. I was never a professional, just an amateur." "Did you want to be one?" "Yes, when I was 17, I dreamed of being a champion boxer. I trained at the Avia Club with Pierre Dupain, along with Maurice Auzel, who's now European welter-weight champion." "Why did you quit?" "Because you have to really love it and sacrifice for it, I had other ambitions and didn't want to sacrifice my life for it. To be a champion, you have to sacrifice everything. Since at the time I also loved acting, I thought it would be easier and less dangerous than boxing. It would hurt less. There might be blows to your morale, but in boxing you take blows to your body as well, so I chose just blows to my morale." – 1961^{[citation needed]}