Editing Split screen (video production) (section)

==Influences==
An influential arena for the great split screen movies of the 1960s were two [[world's fair]]s - the [[1964 New York World's Fair]], where [[Ray and Charles Eames]] had a 17-screen film they created for IBM's "Think" Pavilion (it included sections with race car driving) and the 3-division film ''[[To Be Alive!|To Be Alive]],'' by [[Francis Thompson]], which won the Academy Award that year for Best Short.  [[John Frankenheimer]] made ''Grand Prix'' after his visit to the [[1964 New York World's Fair]]. The success of these pavilions further influenced the 1967 [[Universal exhibition]] in Montreal, commonly referred to as [[Expo 67]], where multi-screen highlights included ''[[In the Labyrinth (film)|In the Labyrinth]]'', hailed by ''[[Time (magazine)|Time]]'' magazine as a "stunning visual display," their review concluding: "such visual delights as Labyrinth ... suggest that cinema—the most typical of 20th century arts—has just begun to explore its boundaries and possibilities," as well as ''[[A Place to Stand (film)|A Place to Stand]]'', which displayed [[Christopher Chapman]]'s pioneering [[Multi-Dynamic Image Technique|"multi-dynamic image technique"]] of shifting multiple images. Directors [[Norman Jewison]]  and [[Richard Fleischer]] conceived their ambitious split-screen films of 1968 after visiting Expo '67.<ref>[https://web.archive.org/web/20070516215313/http://www.time.com/time/magazine/article/0,9171,899606-2,00.html "Cinema: Magic in Montreal: The Films of Expo"]. ''[[Time (magazine)|Time]]''. July 07, 1967. Retrieved 2012-01-14.</ref>

It is also common to use this technique to simultaneously portray both participants in a telephone conversation, a long-standing convention which dates back to early silents, as in  [[Lois Weber]]'s triangular frames in her 1913 ''Suspense'', and culminating in ''[[Pillow Talk (film)|Pillow Talk]]'', where [[Doris Day]] and [[Rock Hudson]] share a party line.  So linked to this convention are the Doris Day/Rock Hudson movies that ''[[Down With Love]]'', the only slightly tongue-in-cheek homage, used split screen in several phone calls, explicitly parodying this use. In the 1971 Emmy Award-winning TV movie "Brian's Song" which portrays the story of former Chicago Bears running backs Brian Piccolo and Hall of Famer Gale Sayers, it's the night after Piccolo's second surgery and Piccolo (James Caan) is talking to Sayers (Billy Dee Williams) on the phone. There is a diagonal split screen from upper left corner to lower right corner (Piccolo on the right side and Sayers on the left). The [[BBC]] series ''[[Coupling (UK TV series)|Coupling]]'' made extensive use of split screen as one of several techniques that are unconventional for TV series, often to a humorous effect. One episode, 'Split', was even named after the use of the effect. The acclaimed Fox TV series ''[[24 (TV series)|24]]'' used split-screen extensively to depict the many simultaneous events, enhancing the show's real-time element as well as connecting its multiple storylines.

An unusual and revolutionary use of split screen as an extension to the cinematic vocabulary was invented by film director [[Roger Avary]] in ''[[The Rules of Attraction (film)|The Rules of Attraction]]'' (2002) where two separate halves of a split screen are folded together into one seamless shot through the use of [[motion control photography]]. The much acclaimed shot was examined and detailed in Bravo Television's ''Anatomy of a Scene''.

In 1975, behind the Iron Curtain, filmmaker [[Zbigniew Rybczyński|Zbigniew Rybczynski]] created his experimental film ''Nowa Książka'' (Eng. ''New Book''), where he split his screen into 9 small screens, shot on 35mm film. This innovative approach allowed him to create a fascinating continuous story of a man in a red hat and red coat. This film served as an inspiration for [[Timecode (2000 film)|''Timecode'']] by [[Mike Figgis]].