Montage Theory and practice Flashcards
Editing/ montage
the joining of independent shots together to form larger structures.
shots
to form scenes
scenes
are linked to formed sequences
sequences
linked to form larger units of the film.
the essence of film/ media production
editing exerts tremendous influence on the overall form of a film. it informs the film’s techniques/ style and structure.
what feeling does editing evoke?
editing controls and manipulates the audience knowledge, feeling, sense of time and rhythm.
rhythm/ pacing
the duration of each shot, what pattern is created
handling of time
ellipsis, compression and expansion of time, flashback/ flashforward
handling of space
the kuleshov effect
patterns
graphic similarities/ differences between shots- light and dark, line, colour and shape movements and stasis
cuts and transitions
how two shots are linked (view video on ppt with the types)
tones, ideas or metaphors
tonal, over tonal, intellectual montage, etc
continuity editing
often called invisible editing due to its seamless nature, prioritizes the film’s plot by aligning sound and images to support the narrative.
temporal, spatial and action continuity
ensures a smooth transition from one shot to the next
establishing shot
typically starts with a wide shot to set the scene then moves in for closer shots
consistent cutting rhythm
maintains a steady pace of cuts throughout the scene.
in dialogue scenes
utilizes shot/reverse shot to alternate between closeups of characters during conversations
180 degree rule
keeps the camera on one side of an imaginary line to maintain spatial orientation, using actors’ eyelines for reference.
Kuleshov effect
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.
parallel editing
there is continuity of time but not space, implying that events are occurring simultaneously.
simultaneous actions
actions are assumed to coincide, creating suspense as the audience anticipates the intersection of two storylines
manipulation of rhythm
the editing pace is adjusted to heighten suspense often with more frequent cuts.
discontinuous editing
intentionally disrupts the continuity of time, space or narrative flow.
jump cut
sometimes allows for continuity of space, mise-en-scene or action, but never time
flashback/ flashforward
break in time, but narrative resumes eventually from where it left off.
match cut
graphic or audio motivated editing- where shots are cut to resemble each other in shape, colour, light, composition, movement, etc
thematic/ metaphorically motivated editing (intellectual montage)
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.
intellectual montage aim
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.
soviet montage theory
uses various techniques to create meaning and evoke emotional responses through the juxtaposition of shots.
metric
cuts based on a specific number of frames, creating chaos and ignoring shot action
rhythmic
uses time and visual continuity, following the film’s pace or action
tonal
adds an emotional layer to shots , eliciting a viewer response
over tonal/ associational
combines metric, rhythmic and tonal to evoke abstract ideas
intellectual
implies meaning, leaving the audience to interpret it.
