ABSTRACT
Since its inception, montage has been considered the principal tool for constructing audio-visual narratives and activating emotional responses in viewers. The authors explore the various definitions of montage found in general and specialized dictionaries and encyclopedias, as well as those proposed by academics working in the fields of film theory, film techniques and video. The review of all definitions of film montage and editing, its video equivalent, highlights the constant theme running throughout the definitions of various authors at different times and which, in our opinion, takes the form of three very different approaches: empirical, adapted and technical-technological. In view of the variety of definitions of both montage and editing, the authors establish two: the first is based on their operative nature; and the second, which is more conceptual, serves as a mechanism of narrative articulation and meaning creation.
