Editing styles and conventions!!

most of the montage comes from the French, soviet and from Hollywood

Film Noir (literally 'black film or cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres following the war, such as The Maltese Falcon (1941), Murder, My Sweet (1944), Double Indemnity (1944), The Woman in the Window (1944), and Laura (1944). A wide range of films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies. Fear, mistrust, bleakness, loss of innocence, despair and paranoia are readily evident in noir, reflecting the 'chilly' Cold War period when the threat of nuclear annihilation was ever-present. The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. There were rarely happy or optimistic endings in noirs.Classic film noir developed during and after World War II, taking advantage of the post-war ambience of anxiety, pessimism, and suspicion. It was a style of black and white American films that first evolved in the 1940s, became prominent in the post-war era, and lasted in a classic "Golden Age" period until about 1960 (marked by the 'last' film of the classic film noir era, Orson Welles' Touch of Evil (1958)).

What is classical Hollywood style? Everyone has observed classical Hollywood style, but upon trying to explain what it is, we usually come up short. When trying to find examples of this style, the movies that stay within this style do not stand out in our minds. It is the movies that break these conventions that are the most obvious examples to us. It seems strange that an idea, which was brought about nearly a century ago, to tell a story with moving pictures, could still hold such power and prominence today in modern film. This style was brought about to tell as believable a story as possible. Creating a realistic world and telling the story through an invisible lens to entertain an audience. Classical Hollywood style is sometimes refereed to as the invisible style. This can be misleading because it is not so much that the style is invisible, with good observation anyone can notice it, it is a style that lends to smooth story telling. This style draws the audience into the story making them feel like they are taking part in the story. A movie that has poor editing distracts the audience and pulls them outside the story.

There are many ways of effecting that transition, some more evident than others. In the analytical tradition, editing serves to establish space and lead the viewer to the most salient aspects of a scene. In the classical continuity style, editing techniques avoid drawing attention to themselves. In a constructivist tradition such as Soviet Montage cinema, there is no such false modesty. Vertov's Man with the Movie Camera (Chelovek s kinoapparatom, USSR, 1929) celebrates the power of the cinema to create a new reality out of disparate fragments.