Isenhour’s article focusses on how the juxtaposition and interaction of shots will alter meaning through “film assertion”. His study is based on research and experiments beginning with the famous Kulshov-Pudovkin effort, followed by those who expanded on their principle theory of order and context changing meaning. Isenhour recounts experiments by Kuiper, Goldberg, and Foley that verify this, and highlights Worth’s notations which are used to demonstrate hypthothetical setups in a concise manner. If A, B represent the juxtaposition of shots A and B, then the meaning of A, B will be different to B, A, as well as the meaning of shot A in sequences B, A or C, A. Worth questioned whether shots could be linked together as in [(AB), (C)] or [(A), (BC)], and Isenhour points to Gregory who argues it can be done through the assertion of shots, achieved through associative cues; kinetic or semantic. Isenhour applies Osgood’s principle of contiguity and applies it to film, discussing how meanings may or may not vary depending on the relative intensities between shots, or how strongly associated they are.

The studies presented by Isenhour are discussed in depth and expanded fully to extract as many findings as possible. The expansion upon expansions highlighted the many variables one must consider when thinking about film assertion, and how different sets of variables can interact to impact meaning in different ways or intensities.