Scene scheduling school is one of the two opposing schools in western film theory and creative practice, and its opposite is ().

There are two opposing factions in western film theory and creative practice: ① scene scheduling school. Scene scheduling, originally from French, refers to the director's artistic treatment of actors' action routes, states and communication between actors in a scene. Including actor scheduling and shot scheduling. Actor scheduling refers to the director's changing the direction and position of actors and the dynamic and static changes of communication between actors, resulting in different shapes and scenes of the picture, revealing the changes in the relationship between characters and emotions, in order to obtain the picture effect. Shot scheduling refers to the director's use of lens position changes, such as pushing, pulling, shaking, moving, ascending, descending, pitching and tilting, to show the relationship between people, the change of environmental atmosphere and the progress of events. Shot scheduling can refer to the scheduling of a complete scene formed by the combination of shots, or it can also be the scheduling within a single shot. Depth scene scheduling belongs to the latter case, which means that the director uses the changes of modeling factors such as scene, composition, light and shadow, scene, environmental atmosphere and character movements in a shot to enhance the meaning of the shot. ② Montage school. Montage means "editing" in French, but it has been developed into the theory of lens combination in movies in Russia. Montage is basically a theory developed by Russian directors, which was extended by pudovkin according to the editing technique of Griffith, the father of American movies, and then Eisenstein also put forward related views. Platts thinks that the juxtaposition of two shots is more meaningful than the juxtaposition of a single shot, and even thinks that movies are the art of juxtaposition between shots. At least with a long-term vision and a lot of close contact, psychological, emotional and abstract ideas are the result.