Montageslagen

Montageslagen is a Dutch term used in film studies to refer to montage techniques—the different ways shots are assembled in editing to shape meaning, mood, and tempo. The concept encompasses several editing strategies editors use to guide audience perception and interpretation.

The idea of montageslagen stems from montage theory developed in early 20th-century cinema, notably by Soviet filmmakers and theorists. Sergei Eisenstein argued that the collision of separately shot images can generate new meaning, while other theorists such as Vsevolod Pudovkin and Dziga Vertov offered complementary approaches to how editing shapes perception. In Dutch scholarship, montageslagen is used to classify these approaches and to discuss how editors create relations between shots.

The main categories commonly described under montageslagen include:

- Metric montage: the sequence is driven by the length of shots and the overall tempo, regardless of what is shown.

- Rhythmic montage: shot lengths align with the rhythm of action or music, creating a sense of motion.

- Tonal montage: the emotional tone of the shots governs the cut, producing mood rather than simple speed.

- Overtonal montage: a synthesis of metric, rhythmic, and tonal factors to evoke a complex response.

- Intellectual montage: juxtaposition of images to suggest abstract ideas or concepts beyond the individual shot.

- Graphic montage: visual relationships such as shapes, lines, or contrasts between frames influence the cut.

In practice, montageslagen shapes pacing, tension, and interpretation across genres, from action to drama to documentary. Editors select a combination of these approaches to achieve intended effects, such as rapid excitement, contemplative mood, or argumentative clarity. See also: montage, film editing, Eisenstein, Kuleshov effect.