CONCLUSION

How does an editor disrupt reality to craft a profound emotional impact on viewers?

My journey into the realm of emotional reflection and impact in film editing has been an illuminating exploration, revealing my role as a narrative architect rather than a mere assembler of images. The chapters on introduction, source review, and research have collectively navigated towards a central question: "How does an editor disrupt reality to craft a profound emotional impact on viewers?"

This exploration delved into the multifaceted emotional nuances of film editing. The source review illuminated the intertwined perspectives of neurobiology, rhythmic constructs, and the sensory-driven essence of editing, casting me as a conduit of emotion who reflects personal experiences onto storytelling. Rhythm emerged as the heartbeat of storytelling, with its intricate relationship between tempo and performance. Agnès Guillemot's metaphorical connection between editing and music emphasised the crucial role of rhythm (Crittenden, 2006, p.5). Additionally, the revelation of subjective perception in shaping cognitive dissonance through non-linear structures added depth to the emotional impact.

Throughout this journey, the creative and research aims remained inherently intertwined. The creative pursuit aimed to channel emotion into a sensory approach to editing while prioritising the significance of re-tuning the film in editing. The research aimed to explore and understand how editors disrupt reality to evoke profound emotional responses, and this was manifested in the practical experiment of editing my capstone film, Skin. The Kolb Learning Cycle (Schön, 1987) provided a cyclical framework for continuous practice and reflection. Skin's narrative, layered with themes of migration, identity, and nostalgia, became a canvas for testing and practising emotional reflection techniques. Furthermore, the goal of condensing it in a shorter version adopted the non-linear approach, examined in the exploration of voice over and ellipsis, emerged as a powerful editing tool for achieving emotional resonance with the viewers, and a motivation for them to actively engage further with the narrative. In addition, the transition from a psychological horror to a melancholic and poetic narrative proved the flexibility of editing the same materials in different ways, in response to evolving insights in non-linear and discontinuous editing. 

This research extends beyond the individual capstone project, offering insights from my personal collaboration and research journey for practitioners, researchers, and the industry at large. For practitioners, it underscores the role of the editor as a highly empathetic individual, advocating for a sensory approach to editing beyond technical proficiency. It appeals to the industry to recognize the value of ‘editing with heart’ rather than relying solely on accessing editors' skills in operating tools, especially when examining young editors with limited credits. For researchers, it opens avenues to delve deeper into the cognitive and emotional dimensions of film editing, exploring the further possibilities in narrative disruption. 

In an era where audiences crave authenticity and emotional engagement, the role of the editor extends far beyond technical professionals. Positioned as storytellers who exercise emotion as a narrative tool, editors contribute to a more profound impact. This urges a broader appreciation for the emotional resonance that film editing can achieve.

As my exploration into disruptive editing and emotional impact unfolds, questions and avenues for further research and practice become apparent. The research question itself prompts continued exploration in non-linear editing as a focal point, with a desire to delve into unexplored territories and test boundaries of storytelling. While the scope of exploration may extend to a larger scope, the commitment to emotional reflection at the focal point remains the same. This consistency ensures a continuous dedication to storytelling that resonates emotionally and authentically with the audience.

In conclusion, I can say that the approach of disrupting reality architects my capstone film Skin with a profoundly emotional impact, leaves an extensive impression on viewers. The research journey marks not an endpoint but a realisation for further exploration in my career.