She touches upon Eisenstein’s views on montage, and how actors’ movements, gestures,
and expressions can have a mutually interactive relationship with the selection and
combination of shots and editing patterns. She uses the example of Romeo and Juliet to
explain how they are staged in order to give the editor more shots to work with. This
article also explains how the cinematographer uses point of view shots following Juliet’s
movements throughout the shot. The editor chooses long takes and long shots to create
space around the lead actors. This helps to convey the sincerity of the characters’ lofty
sentiments, the purity of their souls, and the elegiac tragedy of their suffering.