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In practice, people have summed up two montage modes, namely narrative montage and performance montage.

1. Narrative montage

Narrative montage is a splicing method that connects different shots, narrates a plot and shows a series of events according to the development law, internal relations and time sequence of things. Narrative montage can be divided into sequential narration, flashback, insertion and sub-narration.

Show montage

Performance montage, also known as "column montage", is based on the internal relationship between pictures, through the changes and influences between pictures, pictures and sounds, to produce concepts and meanings that can not be produced by a single picture itself, and to stimulate the audience's association. Performance montage is subdivided into parallelism, intersection, contrast, symbolic metaphor and so on.

At present, in the production of film and television programs, there are many phenomena that don't pay attention to the montage law, and the most common phenomenon is the phenomenon of shooting to the end in animation production. This often destroys the rhythm of the program and annoys the audience. As a form of film and television art and a unique means of expression, montage not only plays a guiding role in video and audio processing in the program, but also plays a very important role in grasping the overall structure of the program.

There is no unified view on how many different montages there are and how montages should be classified.

Pudovkin's classification is more specific. He thinks there are five different montages:

The first is montage, such as the connection between burning wheat and starving children during the capitalist crisis.

Second, parallel montage, such as pudovkin's Mother, depicts the growing workforce and the gradual melting of ice in neva river.

The third is metaphor or symbolic montage, which is often called "metaphor" today. For example, flying seagulls symbolize the yearning for freedom.

The fourth is the montage of overlapping or "synchronous development of actions", such as the last second rescue in "Lai Marriage".

Fifth, the "recurring theme" montage, that is, things that represent a certain theme repeatedly appear on the screen at critical moments.

Eisenstein, Bela Balazs and Einstein all have different montage classifications, up to 36 kinds. Some people think that overly complicated classification is futile. Artistic means are ever-changing, and it is impossible to generalize them into some grammatical norms. Artists will create new techniques at any time.

It is for this reason that Marda finally divides montage into three categories, namely narrative montage, thinking montage and rhythm montage.

Jean mitry, a French contemporary film theorist, believes that the purpose of montage is only to catch the audience's attention and make them focus on what they are showing. Firstly, the meaning is expressed through the vivid narration required by the plot itself and the plot, followed by lyrical, vivid expression and passionate rendering. To sum up, we might as well divide montage into narrative, lyrical and rational (symbolic, comparative and metaphorical), and there is no insurmountable gap between them. Often at the same time of narration, it also expresses feelings or conveys the author's thoughts.