The combination of shots where she hides from danger while on the other side there are constant flashes and an alien almost invisible in the dark, set the tone and make the viewer feel tense. In Ridley Scott’s “Alien”, we can see tonal montage applied when Ripley encounters the Xenomorph. The tone can be determined, for example, by the lighting in the frame as well as its change, use of specific metaphors that associate with a particular emotion or even a sequence of reactions of characters to an emotional situation within the movie. The idea is that, when juxtaposed, they enhance the emotional impact. When it comes to the emotions the director wants us to experience, it is time for tonal montage, in which shots are arranged according to their "emotional tone".
#METRIC MONTAGE MEANING MOVIE#
Most evident examples are modern movie trailers that combine dramatic music and vivid stills from the movie. The shots are edited according to the soundtrack and how it’s used in the particular scene, what sound effects and on-screen action there are. Rhythmic montage is similar to metric, however, as suggested by its name, here rhythm of movement and the content of specific scenes are taken into account instead of their duration. In the famous shower scene in “Psycho”, Hitchcock exploits this montage effect by editing shots of a knife and the victim next to each other. Quick cuts or, conversely, long shot, affect the level of tension the viewer feels during watching. It may feel uncomfortable while watching because the action is constantly interrupted, but if you catch the general rhythm of the movie, it turns out to be interesting and more understandable. Metric montage is based on the temporal length of the segments and requires cuts at regular intervals, regardless of how the action develops within the shots.
Thus, Eisenstein proposed his own classification of montage techniques. Eisenstein believed that the image in the film should be a combination of different frames in a structure where the conflict exists between its elements, which is achieved by video montage editing. Types of editing styles in films differ in how frames will be joined to each other, and on what basis – by meaning, by association, sequentially or in parallel, etc. However, it is still subject to rules, and as a result, it was divided into different types. It is the expressive means of the screen, the way of artistic thinking, and the rhythm of the work. Nowadays, montage in movies is something that is determined by the worldview of its director. They mix in shots of a water buffalo being slaughtered.Montage techniques in movies and their effect A good example of this would be the scene from apocalypse now where Klutz is being executed. Intellectual - Uses a combination of shots from outside the film in order to create a meaning. Overtonal/Associational - An accumulation of metric, rhythmic, and tonal montage to synthesise its effect on the audience for an even more abstract and complicated effect. An example of this is in one of Eisenstein’s fllms called Battleship Potemkin where the character ‘Vakulinchuk’ dies. The point of this is to elicit a reaction that is more complex than Rhythmic and Metric. Not just manipulating the temporal length of the cuts or its rhythmical characteristics. Tonal - A tonal montage uses the emotional meaning of the shots. A good example of this is the the legendary car/train chase scene in The French Connection. This creates visual continuity but it may also be used in order to keep with the pace of the film. Rhythmic - The cutting happens for the sake of continuity. The reason for this is to get an emotional reaction from the audience. Metric - Where the editing follows a specific number of frames, this is based purely on the physical nature of time, cutting to the next shot no matter what is happening within the image.
These varieties of montage build one upon the other so the “higher” forms also include the approaches of the “simpler” varieties. Sergei Eisenstein talks about five different methods of montage through out his work.
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