Dear Lou: I have seen cross-cutting and parallel action used synonymously countless times. However, the helpful distinction for me is not only in the execution of the montage, but its intended effect. It might be seen in terms of a dialogue dating back to Griffith and Eisenstein. Cross-cutting is a Griffithian (well countless others, including Porter used it) process through which conflict, suspense and tension are built through the distance of compared spaces - a distance that must be surmounted. Classic cross-cutting (I believe Griffith's term was "switch-back") in Biograph films, Birth of a Nation and Orphans in the Storm juxtaposes a scene of captivity and the approach of a hero-savior. The idea is to eventually conjoin the figures (hero, victim) within a single space (frame). Parallel montage is more dialectical. It is constituted through the mutual juxtaposition of thesis and antithesis so as to produce a tertium quid, or synthesis. This is more in tune (in theory) with Russian montage and Hegelian dialectic. The relation between subjects and spaces does not necessarily call for the final conjoining, but rather the spaces are unified through a more abstract and intellectual process of synthesis for the spectator. Well cited examples are the baptismal scene in The Godfather. I think much of the parallelism in Fosse's Cabaret stands as a great example as well. Best, Jason Grant McKahan Film Instructor College of Communication and Film School Florida State University [log in to unmask] At 06:37 PM 7/13/2005, you wrote: > Can anyone explain to me the difference, if there is one, between cross > cutting and parallel action? > >---- >For past messages, visit the Screen-L Archives: >http://bama.ua.edu/archives/screen-l.html ---- To sign off Screen-L, e-mail [log in to unmask] and put SIGNOFF Screen-L in the message. Problems? Contact [log in to unmask]