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Associational Cuts
ASSOCIATIONAL CUT
A cut made for symbolic purposes to an object which often is not present in the world of the film’s story (its diegesis) but is associated with the previous image. Pudovkin referred to these as symbolic cuts, and Sergei Eisenstein called the technique intellectual montage. In October (Eisenstein cuts from a vain, ambitious dictator to shots of a gilded, mechanical peacock. In the cult film Harold and Maude (Hal Ashby, 1972), after a psychiatrist asks Harold how he feels about his mother, there is a cut to a huge medicine ball crashing into a brick building. Here the association between shots is to show their similarities.
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