There are a variety of transitions implemented in this scene. The beginning of the scene implements traditional continuity editing shots that narrate Nash’s encounter with the military officials. Within this continuity editing there are juxtapositions between the military officials and Nash’s sudden face. This continuity editing gives way to dissolves of Nash’s face, as well as dissolves of the specific numbers he is examining. Rather than functioning within regular continuity, these dissolves demonstrate the passage of time as Nash examines and ponders the flashing numbers. These transitions, as well as the traditional and non-traditional editing techniques, have a variety of effects on scene and viewer. Perhaps most prominently this approach creates a dream-like atmosphere. Rather than conveying the scenes in a direct narrative way, this dream-like explication allows the viewer to viscerally experience Nash’s creative process and the way he is able to solve these equations.
It’s noted that there are three different types of sound in film. Diegetic sound is sound that both the audience and the characters can hear (Stanley, 2011). This is contrasted with non-diegetic sound that occurs outside of the character’s comprehension, but is available to the audience (Stanley, 2011). Finally there is ambient or natural sound; while this is also recognized as non-diegetic it constitutes a more specific articulation of this sound notion ("Types of," 2011). In the ‘Barrels’ scene from Jaws one recognizes the implementation of non-diegetic sound as the film’s soundtrack immediately overlays the narrative events. Additionally, natural and ambient sound occurs with the sound of the ocean and the events on the ship. Finally, there is diegetic sound implemented through discussions on the radio. In the ‘Opposites Do Not Attract’ scene from When Harry Met Sally one recognizes the implementation of natural and ambient sound in the car