There are several ideas associated with the role of editing in film criticism, which can be broadly classified based on the stylistic elements of realism and formalism and the manner both of which fit into the classical paradigm. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an Original Essay Let's start, however, with three definitions of editing and editing. A technical definition of editing is the assembly of strips of film footage (two strips of film, two shots cut together, for example). However, many conceptual issues relate to how film editing makes sense of narratives. Montage, from the French for assembly or assembly, is synonymous with montage in some respects. It can mean a transitional sequence suggesting a lapse of time and/or a passage of space and/or the action of a process. Consider, for example, when Thelma and Louise are driving through the countryside, we have short sequences that reveal our two heroines in different landscapes and at different times of day, so that time and space are compressed to emphasize highlight the dramatic points of interest in the story. One could even argue that a sequence as such could also symbolically reveal a process of liberation (or at least a process of separation from authoritarian control) and/or individual growth. The second definition of montage is historically more American and less European. and in Russia, in particular, montage traditionally represents a broader, theoretical notion of how shots, when placed in series and combined with each other, acquire specialized meanings. At first glance, we might think that this is a logical, linear progression. : shot a+ shot b + shot c = meanings a+b+c. These meanings, however, transcend an additive structure; therefore, an equation for the assembly of planes a, b and c would be more than a+b+c, but would instead look like: a+b+c= d, where d is an entirely new meaning. This new meaning (d) can be seen in terms of style, realism, formalism and, ultimately, classicism. There are 2 categories for the types of meanings created by the editing/editing of a film: Continuity: the linearity of a film's narrative, where shot after shot, scene after scene in an understandable and flowing manner. Although the continuity of a film depends on some formalistic elements as well as some realistic elements, it has the connotation of emphasizing the realistic elements and literal points of the narrative, as can be seen in the following explanation of a definitive characteristic of classicism, the invisible style. .Invisible style: Effective continuity makes viewers unaware of how the camera and editing control our response. Corresponds correctly (and logically) to details, movements, and action, and dialogue from shot to shot within scenes matches from scene to scene throughout development. of the plot and theme of the film. Time and space are represented in film form with an emphasis on consistency and understated style. Associative meaning: the conscious construction of ideas dependent on the shot-by-shot, scene-by-scene relationship for the expression of emotional or symbolic ideas. . Again, this assumes that a film text takes advantage of both realistic and formalistic elements, although the associative meanings emphasize the figurative meaning of the film's concepts and depend greatly on the abstractions of the film text. Keep in mind:.).