Metric
Where the editing follows a specific number of
frames (based purely on the physical nature of time), cutting to the next shot
no matter what is happening within the image. This montage is used to elicit
the most basal and emotional of reactions in the audience.
Example from Eisenstein's October.
Rhythmic
Includes cutting based on time, but using the
visual composition of the shots, along with a change in the speed of the metric
cuts, to induce more complex meanings than what is possible with metric
montage. Once sound was introduced, rhythmic montage also included audial
elements (music, dialogue, sounds).
Example from The
Battleship Potemkin
Tonal
A tonal montage uses the emotional meaning of the
shots - not just manipulating the temporal length of the cuts or its
rhythmical characteristics - to elicit a reaction from the audience even more
complex than from the metric or rhythmic montage. For example, a sleeping baby
would emote calmness and relaxation.
Example from
Eisenstein's The Battleship Potemkin.
Overtonal/Associational
The overtonal montage is the accumulation of
metric, rhythmic, and tonal montage to synthesize its effect on the audience
for an even more abstract and complicated effect.
Example from Eisenstein's Strike
Intellectual
Uses shots which, combined, elicit an intellectual
meaning. Intellectual montage examples from
Eisenstein's October and Strike. In Strike, a shot of striking workers
being attacked cut with a shot of a bull being slaughtered creates a film
metaphor suggesting that the workers are being treated like cattle. This
meaning does not exist in the individual shots; it only arises when they are
juxtaposed.
Example from Eisenstein's Strike
Parallel editing
Parallel editing is a technique that allows two or
more simultaneous sets of action to happen within a single film sequence. Its
main uses are to; create tension, show more vantage points and can create
dramatic irony.
Crosscutting
Crosscutting is a technique that pieces together
sequence that at occur at the same time, but in different places in order to
create narrative tension. Crosscutting’s most famous practitioner was
W.D.Griffiths, his collaboration of films contain textbook examples of crosscutting.
Some of his pieces of work that include this editing type are; A Corner in
Wheat and The Lonedale Operator.
Motivated Editing
In its most basic form, a motivated edit is one
that alludes to something not in the frame and then cuts to that item or event.
If you accept that any edit breaks the illusion of continuity, then we put
forth that the motivated edit is one of the least jarring forms of transition.
For this reason, it is used often in Hollywood-style narrative filmmaking.
Shot- Reverse Shot
Shot reverse shot (or shot/countershot)
is a film technique where one character is shown looking at another
character (often off-screen), and then the other character is shown looking
back at the first character. Since the characters are shown facing in opposite
directions, the viewer assumes that they are looking at each other.
Example from The Hunger Games
