Abstract

This research aims to make an overview about the possibilities of perception and prehension of film editing, from a theoretical deepening and analysis of one of its intrinsic elements: the faux raccord.
This paper comes to postulate a precise definition for the term, as well as situate it in theoretical and audiovisual production throughout history, helping understanding the consequences of its use in the discursive construction, and Trying to deepen a reflection about the importance of the sensitive analysis of films and understand how the Faux raccord incurs as a cognitive thruster in reception of the films.
To get to a concrete definition of faux raccord, we bring a meticulous bibliographic research on discontinuous cuts and we deconstruct the concept of raccord. Based on this we were able to define what in fact comes to be the faux raccord and which cuts fit this definition.