Cose Molto Umane di Gianpiero Kesten · Gianpiero Kesten - Vois

2126 - La dissolvenza nel cinema classico

March 13, 2026·11 min·1 clip

How did the editing style of 1962's Dr. No use dissolves to mark transitions without confusing viewers?

The episode begins by discussing how dissolves were used in early cinema like the 1962 James Bond film Dr. No to help viewers orient themselves between scenes and time jumps. It explains that dissolves marked passages without breaking narrative rhythm. The host then transitions to modern times, noting that dissolves are used much less frequently since the late 1960s. This change is attributed to the French Nouvelle Vague movement, which introduced more aggressive editing with dry cuts. Dissolves became seen as vintage and are now reserved for specific cases like musical montages or dream sequences. A key reason for their decline in color films is aesthetic: mixing two different color palettes during a dissolve can create unpleasing browns. The episode breaks down the three basic types of dissolves: fade in, fade out, and cross fade. It describes how these were created practically in pre-digital times by physically gluing negative frames and marking film with pencils. For fade effects, editors manipulated the diaphragm and exposure time during printing to make images appear or disappear. Cross dissolves involved printing scene A with progressively reduced exposure, then overlaying scene B with increased exposure. Later, optical printers with two projectors simplified this process. The host mentions that handmade dissolves sometimes had non-linear errors due to craftsmanship. He briefly compares this to audio fades, noting audio offers more curve options. The episode ends with a thank you to Gabriele for the question and a promotion for the podcast's Patreon.

Listen to the show on

Apple Podcasts Spotify

Play clips from this episode More from Cose Molto Umane di Gianpiero Kesten