蒙太奇
Montage originates from a French architectural（建筑學(xué)的） term， which has been borrowed by the film－making field and refers to the choosing， cutting and combining of separate photographic material so as to make a connected film①． The film artists divide the content into different stages， scenes， etc． and treat them respectively（分別）； then based on the theme and the plot， use certain techniques，to edit them， producing the effects of coherence， echo， contrast，symbolization， exaggeration， foil and suspense， resulting in an integrated artistic work②． In Charlie Chaplin's Modern Times， the first scene is of a flock of sheep being put into the fold（羊欄）， and the next is of a group of workers surging into（涌進(jìn)） the factory． The two different shots， edited and spliced（接合） together，imply that the capitalists treat workers as livestock（牲畜）．
Montage can be divided into narrative（敘述性的） and expressive montage． Narrative montage is based on the development of the plot， by which the audience is attracted and enabled to follow the chronological（按年代順序排列的） order， to learn the causes and effects easily． If subdivided（細(xì)分），narrative montage consists of consecutive montage， paralleled montage， crossing montage and reviewing montage③． But they are not used separately． In film， they merge into and supplement one another to manage the subject more freely and thoroughly④． Expressive montage is a more abstract， general， suggestive and symbolic method calling for the audience's initiative（主動(dòng)）， meditation（沉思）and analysis（分析）． It includes contrastive montage， metaphorical montage， psychological montage and rational montage⑤． Unlike narrative montage， expressive montage combines all the shots directly，even without concrete（具體的） images， and probably forces the audience to understand in their own way the internal implications（內(nèi)涵） carried out by the abstract codes（符號(hào)）．
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