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In the writings of theoreticians, the word, montage, in its broad sense includes cutting, but the opposite never occurs. The moment of ordering (montage) in film is somehow more important - "linguistically" at least - than the choosing of the images (cutting), no doubt because the latter, being too open, is not a choice, but rather an act of decision, a kind of creation. That is why, on the artistic level, the content of each shot is of great importance (although the organization is itself an art). On the level of the visual subject, there is art, if anything. Art continues on the level of the sequence or of the composed shot, and "cinematographic language" begins. (Metz, p. 68.)
Adrian Miles: Hypertext syntagmas: cinematic narration with links
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