ABSTRACT
From time to time, certain techniques become fashionable and are considered " i n " by filmmakers, including cutters. Every fad carries an inherent weakness which outweighs any possible benefit: A fashionable movement usually has one creator or trendsetter; all others are necessarily imitators or followers. In films, the fad is also self-indulgent, ignoring the viewer, who wi l l usually react most favorably to the most effective technique rather than to one which happens to be chic. Beyond that, i t limits the cutters' options.
