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An eyeline match is a popular editing technique associated with the continuity editing system. Continuity editing is the predominant style of editing in Narrative cinema and television It is based on the premise that the audience will want to see what the character on-screen is seeing. The eyeline match begins with a character looking at something off-screen, there will then be a cut to the object or person at which he is looking. For example, a man is looking off-screen to his left, and then the film cuts to a television that he is watching. [1]

References

  1. ^ Jeremy G Butler (2001), Television: Critical Methods and Applications, Lawrence Erlbaum Associates, ISBN 0805842098, <http://books.google.com/books?vid=ISBN0805842098&id=LwEmNHNyPOUC&pg=RA2-PA157&lpg=RA2-PA157&ots=f9hN-iVbaU&dq=%22Eyeline+match%22&ie=ISO-8859-1&output=html&sig=n_V5dMNWmCCkb7-9-5bIb3a_G_k> 
Continuity editing topics
Establishing shot | Shot reverse shot | 180 degree rule | Eyeline match |
30 degree rule | Cutting on action | Cutaway | Insert | Cross-cutting
Continuity editing is the predominant style of editing in Narrative cinema and television In Film and Television, an establishing shot sets up or "establishes" a scene's setting and/or its participants Shot reverse shot (or shot/countershot) is a Film technique wherein one character is shown looking (often off-screen at another character and then the other character The 180° rule is a basic Film editing guideline that states that two characters (or other elements in the same scene should always have the same left/right relationship to The 30° rule is a basic Film editing guideline that states the camera should move at least 30° between shots of the same subject Cutting on action or matching on action refers to a Film editing technique where the editor cuts from one shot to another view that matches the first shot's Cross-cutting is an editing technique used in films to establish continuity
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