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Narratives and Television News Editing
Unformatted Document Text:  Narratives and Television News Editing 9 categories: (1) metric montage, (2) analytical montage, and (3) idea associative montage and (4) transitions (p.292). This study employs the following definitions of these codes for use in the content analysis of news packages: Metric Montage. Zettl defines metric montage as, “a rhythmic structuring device…of a series of related or unrelated images that are flashed on the screen at more or less equally spaced intervals” (p.292). When each of the shots in a sequence is cut progressively shorter, the scene is viewed as occurring faster, hence the name “accelerated montage.” As Zettl explains, “You can use the accelerated metric montage to lead up to, or punctuate, a particular high point in a scene” (p.292). Metric montage, or pacing, increases intensity by increasing the pace of the package and, conversely, numbs the mood by slowing down the pace. Analytical Montage. Zettl breaks analytical montage down into two categories: sequential and sectional. Sequential analytical montage means editing a scene to show cause-and-effect. Even though one may not show the actual event (such as a car accident), one can create a “cause” sequence of a car riding down the street, and another car cutting it off. Then one can show an effect sequence of the dented cars and the rescue crew helping the injured. Zettl explains that, by requiring the viewer to fill in the blanks, “you have engaged, if not forced, the viewer to participate in the event, rather than merely watch it” (p.294). Sectional analytical montage is used to emphasize a moment within sequential montage in order to add more meaning or context to the scene. It requires a, “series of rhythmically precise shots” (p.296). In other words, the sectional montage does not slow down time within itself, although its presence in the larger sequential montage slows down the overall progression of the plot in order to reveal, “the complexity of the event – the intensity, emotional power, and quality of the moment” (p.296). Relating to the car accident example, imagine that, between the “cause” sequence and

Authors: Henderson, Keren.
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  Narratives and Television News Editing      9
categories: (1) metric montage, (2) analytical montage, and (3) idea associative montage and (4) 
transitions (p.292). This study employs the following definitions of these codes for use in the 
content analysis of news packages:
Metric Montage. Zettl defines metric montage as, “a rhythmic structuring device…of a 
series of related or unrelated images that are flashed on the screen at more or less equally spaced 
intervals” (p.292). When each of the shots in a sequence is cut progressively shorter, the scene is 
viewed as occurring faster, hence the name “accelerated montage.” As Zettl explains, “You can 
use the accelerated metric montage to lead up to, or punctuate, a particular high point in a scene” 
(p.292). Metric montage, or pacing, increases intensity by increasing the pace of the package 
and, conversely, numbs the mood by slowing down the pace. 
Analytical Montage. Zettl breaks analytical montage down into two categories: sequential 
and sectional. Sequential analytical montage means editing a scene to show cause-and-effect. 
Even though one may not show the actual event (such as a car accident), one can create a 
“cause” sequence of a car riding down the street, and another car cutting it off. Then one can 
show an effect sequence of the dented cars and the rescue crew helping the injured. Zettl 
explains that, by requiring the viewer to fill in the blanks, “you have engaged, if not forced, the 
viewer to participate in the event, rather than merely watch it” (p.294). Sectional analytical 
montage is used to emphasize a moment within sequential montage in order to add more 
meaning or context to the scene. It requires a, “series of rhythmically precise shots” (p.296). In 
other words, the sectional montage does not slow down time within itself, although its presence 
in the larger sequential montage slows down the overall progression of the plot in order to reveal, 
“the complexity of the event – the intensity, emotional power, and quality of the moment” 
(p.296). Relating to the car accident example, imagine that, between the “cause” sequence and 


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