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152 A PRACTICAL MANUAL OF SCREEN PLAYWRITING
Transition from scene to scene can be accomplished by the sheer impetus of action, from one scene to another, or even from the inexorable forward flow of continuity of previous scenes, provided, of course, that the change from scene to scene is not too sharp. Thus, it would be impossible to bridge a summer scene with a winter scene merely by using a simple dissolve. Nor would it be feasible to connect the bucolic calm of a countryside scene with the frenetic activity of a factory scene, without resorting to some sort of transitional contrivance.
But in the main, there are many scenes that can rely solely on a simple dissolve for transition. In fact, it is suggested that the screenplay writer strive to do this. For in overloading a script with transitional devices, the desired effects will be lost completely, and the devices will begin to creak mechanically by the time the picture is half done. But if the devices are interlarded judiciously in the script, they will gain from the absence of unnecessary, cluttering, and transition-sapping devices. In addition, the simple dissolve transitions will gain added transition value because of the impetus derived from the devices.
In other words, the transition device can be a most effective tool in the hands of an expert screen-play writer. Misused and overused by an inept muddler, it can defeat the purpose for which it is so ideally suited. Used sparingly but effectively, transitions can make motion pictures move with a flow of uninterrupted continuity.
Montage
In the United States, the word "montage" has an entirely different meaning than in Europe (see page 186) . Here it is used to designate a single sequence of quick flash shots used to condense time, or to contrast space.
Montages of this sort are photographed on the production stage, on location, on the special-effects stage, or on all three. The actual splicing with dissolves and superimposures, though, is done in the optical effects department.
There are three general types of montage: 1. the direct-cut