The first shot sequence shows montage units in their traditional order: proposal, marriage, first baby, second baby. To impress on you the importance of maintaining the natural order of the event in a sequential montage, let's do some switching of individual elements. As you can see, this t1 to t2 sequence is an important element in editing for plot development and continuity of the story narrative. All you can do is condense the event and intensify it through a careful selection of significant details. Because the sequential montage is time bound by the cause/effect time vector of the actual event, you cannot reverse or change in any way the time order of the selected event essences.
Thus you have engaged, if not forced, the viewer to participate in the event-have an empathetic response-rather than merely watch it. This montage is a type of low-definition rendering of an event that requires the viewer to apply psychological closure to fill in the gaps. Notice that the accident itself is not shown it is left up to the viewer to imagine. The last 2 shots are the "effect" part of the montage. Fortunately, the collision wasn't serious, and no one was badly hurt. The third shot shows the bikes tangled and the little girl holding her knee. These are the "cause" parts of the montage. At that very moment, another cyclist crosses her path. We see a girl riding her bike down a driveway toward the street. Take the theme of a small bicycle mishap, for example. One of the characteristics of an analytical montage is that the main event or its major theme is frequently implied but not shown or made otherwise explicit. The sequential montage tells a story in shorthand fashion and moves from event-time 1 (t1) to event-time 2 (t2). Sequential Analytical Montage: To achieve a _, you condense an event into its key developmental elements and present them in their original cause/effect sequence. Although possible montage combinations are numerous, they all seem to cluster into 2 broad categories: _ and _. The narrative structure of all types of montage contains some form of conflict.
METRIC MONTAGE MEANING SERIES
Today montage implies the construction of a narrative-a brief story-as well as a series of shots, scenes, or even sequences that create a vertical vector field-a clarification and intensification of emotions. Whereas the classic montage of the silent film era consisted of a brief series of quick cuts, showing segments of a single event or of different events, the modern view of montage has become more inclusive. Montage is a kind of filmic shorthand that quickly reveals or creates certain event aspects and ideas. In the context of media aesthetics, montage is the juxtaposition of 2 or more separate event images that, when shown together, combine into a new and more intense whole-a _.
The basic building block of complexity editing is the _, a term that literally means "setting together" or "assembling," in our case, of various event details. Yet in complexity editing, your main focus is establishing and maintaining an affective map in the viewer. Whenever possible you should apply the principles of continuity and keep the viewer's cognitive mental map intact. Poor continuity can wreck the intended emotional effect. But the new priorities for an edit do not mean that we can throw all the principles of continuity editing out the window. The resulting flip-flop reversal of screen directions is intended because it represents a visual interpretation of the person's confusion or labile emotional condition. For example, to show the inner confusion of a troubled person, you may very well cut between cameras that are positioned on opposite sides of an index or motion vector line. In any case, continuity now takes a backseat. Without intending to confuse you, complexity editing may or may not adhere to the principles of continuity editing. The _-the selection and the sequencing of specific shots-is based on story and emotion, by what people do, what drives them to do it, and how they feel about what they do.
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