Montage is a technique in film editing in which a series of short shots are edited into a sequence to condense space, time, and information. The term has been used in various contexts. It was introduced to cinema primarily by Sergei Eisenstein
HERE ARE THE FIVE METHODS OF MONTAGE:
1. Metric Montage
The practice of cutting according to exact measurement, irregardless of the content of the shot.
2. Rhythmic Montage
The practice of cutting according to the content of the shots, or continuity editing. This is the most commonly used form of montage. Each shot’s length derives from the specifics of the piece and from its planned length according to the structure of the sequence.
3. Tonal Montage
The practice of cutting according to the emotional tone of the piece. This type of montage is a bit more subjective in the sense that you’re not cutting towards any physical aspect of media. Instead, it’s a combination of both metric and rhythmic montage to highlight any emotional themes that may be present at that particular point of time in your story. These shots can be matched by both video and aural characteristics.
4. Overtonal Montage
The practice of cutting according to the various “tones” and “overtones” of the shot. This one is even more abstract than tonal montage. In the words of Eisenstein, “from the moment that overtones can be heard parallel with the basic sound, there also can be sensed vibrations, oscillations that cease to impress as tones, but rather as purely physical displacements of the perceived impression.”
From this, we can take away that overtonal montage is the intermixing of larger themes (whether political or religious or philosophical) with the emotional tones of the piece through the use of metric and rhythmic montage.
5. Intellectual Montage
The practice of cutting according to the shot’s relationship to an intellectual concept.