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MISE EN SCENE     Term usually used to denote that part of cinematic process that takes place on the set (as opposed to montage, which takes place afterwards). Literally, the "putting-in-the-scene": the direction of actors, placement of cameras, selection of lenses, placement of props, etc. It is modification of space.   It is a 'Realistic' technique whereby meaning is conveyed through the relationship of things visible within a single shot (rather than, as with montage, the relationship between shots). An attempt is preserve space and time as much as possible; editing or fragmenting of scenes is minimized. Composition is therefore extremely important. The way people stand and move in relation to each other is important. Long shots and long takes are characteristic.  Mise en scene is important to REALISTS.        More on Mise-en-scene

MONTAGE     In its broadest meaning, the process of cutting up film and editing it into the screened sequence.  It is modification of time. Provides a lot of information in a relatively short period of time.   However, it may also be used to mean intellectual montage - the juxtaposition of short shots to represent action or ideas - or (especially in Hollywood), simply cutting between shots to condense a series of events. Intellectual montage is used to consciously convey subjective messages through the juxtaposition of shots which are related in composition or movement, through repetition of images, through cutting rhythm, detail or metaphor. Montage editing, unlike invisible editing, uses conspicuous techniques which may include: use of close- ups, relatively frequent cuts, dissolves, superimposition, fades and jump cuts. Such editing should suggest a particular meaning.  Montage is important to EXPRESSIONISTS.        More on Montage

Pudovkin views montage as a method of building, of adding one thing to another; it has a realistic narrative and has a deliberate, calmer pace.

Eisenstein viewed montage as a kind of collision or conflict; that adjacent shots should relate to each other in such a way that A and B combine to produce another meaning C, which is not recorded on film. The two shots can produce a conflict in their emotional content (happy vs. sad), in their use of illumination (dark vs. light), in their rhythms (slow vs. fast), in their objects (small vs. big), in their direction of movement (right vs. left), in their distances (close-up vs. long shot), or in any combination thereof.

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