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MONTAGE (French: montage) is a transliteration loan word, which originally meant combination and assembly in the academic sense of architecture, and was extended to "editing" in French after the film was invented. 1923, Sergei Eisenstein published the article "Attracting Montage" in the magazine "Left-wing Literary Front", which extended montage as a special technique to drama for the first time, and extended it to film art in his own film creation practice, and founded the film montage theory and the Soviet montage school.

Everyone has their own definition of montage. China Film Publishing House's Dictionary of Film Art holds that montagists agree that the combination of shots is the source of the appeal of film art, and the juxtaposition of two shots forms new features and new meanings. Create a unique film and television time and space. Each shot is a record of real time and space. After editing, time and space can be recreated to form a unique film and television time and space.

First, the micro-level of montage

Divided into three types:

1, action editing point: there is an action receiving relationship between the upper and lower shots;

2, emotional editing point: it should be noted that emotions are not information, and there is room for venting emotions in the blank;

3, rhythm editing point: according to the rhythm of music.

B, the middle level of montage-concept transition

1, the transition from painting to painting;

2. Bipolar lens transition;

3. Blocking transition: also called blocking transition;

4. Similar body transition: the contents of the upper and lower shots are similar;

5. Undertake the transition: the action/content of the previous shot constitutes the result of the next action/content;

6. Sound transition: put the sound of the latter scene in front of the previous scene;

7. Action shot transition: follow the action of the subject from one scene to another;

8. Close-range transition: It has a natural space-time barrier relationship with the previous scene, and also links the relationship and content between scenes.

C, the macro level of montage-structural montage

1, narrative montage: providing information and serving narrative;

2. Parallel montage: The film has more than one protagonist in the structural arrangement and tells more than two events at the same time;

3. Cross montage: two story lines, such as the TV series "Stay by the Sword", realize the cross of two clues through the parallelism of the two clues, and effectively organize the narrative content;

4. Recurrent montage: the interweaving of reality and history:

5. Metaphorical montage: Metaphorical montage is a technique that produces metaphorical, symbolic and suggestive effects by splicing different pictures and creates expressive effects outside the pictures.

6. Contrast montage: it is to put pictures with great plot or emotional contrast together to produce conflicting and mutually emphasizing effects;

7. Repetitive montage: it is a technique to emphasize by making a certain picture appear repeatedly;

8. Psychological montage: express the inner feelings of the characters, and express the inner feelings of the characters through scenes that could not be presented originally.

In the production of a film, the director makes many shots according to the theme of the script or film, and then organizes and edits these different shots organically and artistically according to the original creative idea, resulting in coherence, contrast, association, suspense and different rhythms, thus selectively forming a film that reflects certain social life and thoughts and feelings and is understood and loved by the broad audience. These forms and forms are called montages.