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This trope more often than not has a melancholy or painful tone to it. It often feels emotionally detached or wistful. Effects are often achieved through shifting [[Depth of Field]].
The technical term for this in cinema is Associational Montage, or Intellectual Montage. ''[https://web.archive.org/web/20100406104908/http://www.aber.ac.uk/media/Documents/short/gramtv.html The Grammar of Film & Television]'' writes:
{{quote|The juxtaposition of short shots to represent action or ideas; 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.}}
What it is '''not:''' Shots of an object with major significance to the subject (the Ring in ''[[The Lord of the Rings]]'', the Coffee and the Cigarettes in ''Coffee And Cigarettes'', [[It Was His Sled|Rosebud]]...)
See also [[Motif]] for use of objects as a [[Exactly What It Says on the Tin|motif]], usually a recurring [[Department of Redundancy Department|motif]].
This is a specific type of [[Montage]]. Related to [[Aspect Montage]], among others.
{{examples}}
* William Carlos Williams, "Red Wheelbarrow" illustrates this trope with a poem.▼
{{quote|[[Serious Business|So much depends]] ▼
upon ▼
a red wheel ▼
barrow ▼
glazed with rain ▼
water ▼
beside the white ▼
chickens.}}▼
▲== [[Comics]] ==
* ''[[Watchmen (comics)|Watchmen]]'' combines this with [[Motif]], cutting in between panels to random symbolic objects (including a snowglobe and a rose, see below) flying in stop motion to symbolize the character's thoughts, immutability of time [[Buffy-Speak|and stuff]].
== [[Film]]
* ''[[The Lion King]]'': as Simba climbs Pride Rock to take his rightful place as king, there is a brief shot of a wildebeest skull being washed away in the rain, as if to indicate that the land is being cleansed of the excesses of Scar's regime.
* Many of the shots during musical sequences of ''[[Easy Rider]]''.
** A classic, almost definitive example can be found [http://www.youtube.com/watch?v=jMqVrUSz62o&feature=fvw here].
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* Used to particularly creepy effect in ''[[Eraserhead]]'' by [[David Lynch]].
* Many examples are silent or musical, many have dialogue, often painful dialogue, going over. ''[[High Hopes]]'' by Mike Leigh has quite a few "overlong" shots of doors, an elderly lady's dentures, a series of shots of gravestones, often used to reflect a malaise of the characters.
* Many shots in ''[[Dancer in
* Rosebud does not apply in ''[[Citizen Kane]]'', but the snowglobe possibly does. In fact, snowglobes in general.
* [http://camswonks.blogs.com/cinesthesia/2005/03/hill_on_the_fil.html: Karina Hill]{{Dead link}} writes about [[Sergei Eisenstein|Eisenstein]]: <small>"His associational montages use dialectic elements to activate audience emotions. Generally, his associational montages are used to sadden or disgust the audience. Intellectual montage is the colliding of two unrelated shots in order to arrive at an understanding of an abstract concept or message. The Soviet system within which he worked emphasized the social utility of film and he believed that film could be used to reeducate the public. Therefore, Eisenstein used montages to incite physiological, emotional, and intellectual responses in spectators, with the ultimate goal of motivating them to take action."</small>
** To illustrate, here are some examples from ''[[Battleship Potemkin]]'': A shot of an officer tapping the hilt of his sword is followed by a shot of a priest tapping his crucifix, to imply the connection between the Church and the oppressive tsarist government; an officer is dumped overboard and a shot of the water churning after he falls is compared to an earlier close-up of the maggot-ridden meat that let to the revolt; and the famous three successive shots of lion statues in progressive stages of standing up, symbolizing the people standing up against oppression.
* During David's first transformation in ''[[An American Werewolf in London]]'', the film cuts to a smiling Mickey Mouse figurine, then cuts right back to David completing the transformation.
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== [[Literature]] ==
* In the second ''[[Sister Hood of the Traveling Pants]]'' book, [[The Unfavorite|Tibby]] is taking a college film course for the summer and makes her project a bitter portrait of her mother, tricking her by only asking to interview her when she's busy, so that all the shots she gets are of her mother looking harried and telling her she can't talk right now. The [[Jerkass]]-but-talented kid she's trying to befriend at the college suggests that she add in shots like a patch of dead grass in the yard so that it doesn't "get predictable."
▲''chickens.}}
== [[Live
* ''[[The Biggest Loser]]'' often does scenery cutaways as transitions, but in Season 9, episode 17, there was a bizarre close-up of a single wild rose, wet with dew, sandwiched between two of the scenery shots. [[Faux Symbolism|The rose had nothing to do with anything]].
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[[Category:Motifs]]
[[Category:Montages]]
[[Category:Blade of Grass Cut]]▼
[[Category:Tropes of Nature]]
[[Category:Cut to the Index]]
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