Montage Theory and practice

Question 1

Editing/ montage

Answer 1

the joining of independent shots together to form larger structures.

Question 2

shots

Answer 2

to form scenes

Question 3

scenes

Answer 3

are linked to formed sequences

Question 4

sequences

Answer 4

linked to form larger units of the film.

Question 5

the essence of film/ media production

Answer 5

editing exerts tremendous influence on the overall form of a film. it informs the film’s techniques/ style and structure.

Question 6

what feeling does editing evoke?

Answer 6

editing controls and manipulates the audience knowledge, feeling, sense of time and rhythm.

Question 7

rhythm/ pacing

Answer 7

the duration of each shot, what pattern is created

Question 8

handling of time

Answer 8

ellipsis, compression and expansion of time, flashback/ flashforward

Question 9

handling of space

Answer 9

the kuleshov effect

Question 10

patterns

Answer 10

graphic similarities/ differences between shots- light and dark, line, colour and shape movements and stasis

Question 11

cuts and transitions

Answer 11

how two shots are linked (view video on ppt with the types)

Question 12

tones, ideas or metaphors

Answer 12

tonal, over tonal, intellectual montage, etc

Question 13

continuity editing

Answer 13

often called invisible editing due to its seamless nature, prioritizes the film’s plot by aligning sound and images to support the narrative.

Question 14

temporal, spatial and action continuity

Answer 14

ensures a smooth transition from one shot to the next

Question 15

establishing shot

Answer 15

typically starts with a wide shot to set the scene then moves in for closer shots

Question 16

consistent cutting rhythm

Answer 16

maintains a steady pace of cuts throughout the scene.

Question 17

in dialogue scenes

Answer 17

utilizes shot/reverse shot to alternate between closeups of characters during conversations

Question 18

180 degree rule

Answer 18

keeps the camera on one side of an imaginary line to maintain spatial orientation, using actors’ eyelines for reference.

Question 19

Kuleshov effect

Answer 19

in the absence of an establishing shot, spatial continuity is inferred by the viewer especially if the eyelines match and the 180 degree rule is followed. allows the audience to understand spatial relationships without a wide shot.

Question 20

parallel editing

Answer 20

there is continuity of time but not space, implying that events are occurring simultaneously.

Question 21

simultaneous actions

Answer 21

actions are assumed to coincide, creating suspense as the audience anticipates the intersection of two storylines

Question 22

manipulation of rhythm

Answer 22

the editing pace is adjusted to heighten suspense often with more frequent cuts.

Question 23

discontinuous editing

Answer 23

intentionally disrupts the continuity of time, space or narrative flow.

Question 24

jump cut

Answer 24

sometimes allows for continuity of space, mise-en-scene or action, but never time

Question 25

flashback/ flashforward

Answer 25

break in time, but narrative resumes eventually from where it left off.

Question 26

match cut

Answer 26

graphic or audio motivated editing- where shots are cut to resemble each other in shape, colour, light, composition, movement, etc

Question 27

thematic/ metaphorically motivated editing (intellectual montage)

Answer 27

montage theory explores the synthesis of meaning through the collision of shots. this represents the concept of thesis and antithesis where contrasting elements (scale, volume, rhythm and motion) interact.

Question 28

intellectual montage aim

Answer 28

by juxtaposing two contrasting images, it evokes a new often abstract meaning. this technique leverages the power of metaphor and thematic connections to engage the viewers intellect and emotions, creating a deeper meaning understanding of the narrative of concept being presented.

Question 29

soviet montage theory

Answer 29

uses various techniques to create meaning and evoke emotional responses through the juxtaposition of shots.

Question 30

metric

Answer 30

cuts based on a specific number of frames, creating chaos and ignoring shot action

Question 31

rhythmic

Answer 31

uses time and visual continuity, following the film’s pace or action

Question 32

tonal

Answer 32

adds an emotional layer to shots , eliciting a viewer response

Question 33

over tonal/ associational

Answer 33

combines metric, rhythmic and tonal to evoke abstract ideas

Question 34

intellectual

Answer 34

implies meaning, leaving the audience to interpret it.