Fight Scene Editing and Cinematography: The Bourne Identity and Hero


Let’s looks at the cinematography and editing of two very different style of movie fight scenes. The first clip is from Doug Liman’s The Bourne Identity (featuring Matt Damon). The second clip is from Zhang Yimou’s Hero (the sword vs spear fight between Jet Li and Donnie Yen). We won’t be looking at the differences in fighting style; instead we will be concentrating solely on camera techniques (especially the kinds of shots used) and editing (in these two excerpts, only cuts are used, so the focus here will be on the rhythm of editing and not on types of edits).

In this clip from the Bourne Identity, the rapid-fire editing of hand-held close-up shots creates a frantic, chaotic and exciting feel–almost as if you are one of the combatants taking part in the fight. This feeling is reinforced through the occasional use of shots in which the fighters are out of focus and through POV shots like this one. Here you are, with Jason Bourne trying to stomp on your head. In the Bourne Identity clip, everything is moving fast and you are not always clear what is going on.

The clip from Hero, in contrast, features far fewer edits, longer shots and a much greater use of the wide shot, in which you can see the entire body of each actor.The use of long and wide shots makes it easy to appreciate the martial arts skills of the actors. Even though there is some wire work in this scene, it is clear that the actors, Jet Li and Donnie Yen, are highly skilled. The camera work is this scene is generally very smooth and makes use of stationary shots without any camera movement and other shots that feature pans, tilts, zooms and tracking shots, quite often in combination.

If you are wondering about the use of black and white in the Hero clip, these scenes represent the fight as it takes place inside the swordsman’s mind as he envisions will happen in the coming battle.

You may also notice that, except for a few frames, Jet Li is always on the right and Donnie Yen, wielding a spear, is always on the left. Even when their weapons are shown in close up, the sword is coming from the right and the spear from the left. This regular positioning of the actors, combined with a more extensive use of longer and wider shots, helps to make it very clear who is doing what to whom at any given time.

One thing the two excerpts have in common is that they both have a similar rhythm to the editing. While the editing rhythm in Hero is much slower, both films take brief breaks in the action. In the Bourne Identity, this is done with the use of slightly longer shots during short breaks in action, while in Hero this is done with the use of a series of still close ups as the characters prepare for the next move.

To sum up, the camera work and editing in the Bourne identity creates a sense of realism–as if you are right there with the characters, whereas the cinematography and editing in Hero, as with many Chinese martial arts movies, is better at revealing the real skills and techniques of the actors and in allowing viewers to clearly see and understand what is happening.

Both films are striving for a sense of realism but are focusing on entirely different aspects–the Bourne Identity on the real feeling of being in a fight and Hero on the real abilities and skills of the actors.


This is a video I put together to show how film techniques can be used in different ways and for different purposes for a similar kind of scene—in this case, a fight scene.



These figures refer to the two 60-second excerpts shown in the video.

Shots and Camera Movement The Bourne Identity Hero
Total number of shots (60 sec.) 63 23
Longest shot 3.6 sec 8.2
Shortest shot 0.4 sec 0.8 sec.
Average length of shot 1.0 sec. 2.6 sec.
No. of wide shots (whole body onscreen) 2 7
No. of mid shots (most of the body onscreen) 14.5 5
No.of close ups (incl. medium
and extreme close ups)
46.5 11
Type of camera movement All shots hand-held
and all moving
Combination of stationary shots
and pans, tilts, dolly shots and
zooms (with some very noticeable
oblique angle shots)
No. of obvious POV (Point of View shots 4 None


Related Videos

This is the first video in my film analysis series. You can view the second one here:

Film Scene Analysis: Cinematography and Mise-en-scène in American Beauty

This features an analysis of the how filmmakers use cinematic techniques to show meaning and visually express moods and themes.



Return to Video Making


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