The shot transition is the way in which two of these individual shots are joined together. Principally a literary term denoting a rhythmical pause and break in a line of verse.
In poetry, the caesura is used to diversify rhythmical progress and thereby enrich accentual verse. The term first gained significance in motion-picture art through the editing experiments of Sergei Eisenstein. In applying his concept of montage as the "collision of shots", Eisenstein often included caesuras – rhythmical breaks – in his films. The acts of The Battleship Potemkin (1925) are separated by caesuras that provide a rhythmical contrast to the preceding action.
The intense, frenetic action of the mutiny, for example, is followed by the lyrical journey of a dinghy to the shore. The three Burt Bacharach musical sequences in Butch Cassidy and the Sundance Kid (1969) provide contrasting caesuras that separate the major actions of the film. Several intense action sequences in Master and Commander (2003), including a raging sea storm and fight scenes, are followed by caesuras – quiet, scenic interludes that are often accompanied by melodic cello music. The continuity is the development and structuring of film segments and ideas so that the intended meaning is clear, and the transitions employed to connect the film parts. In a more specific meaning, "continuity" refers to the matching of individual scenic elements from shot to shot so that details and actions, filmed at different times, will edit together without error.
This process is referred to as "continuity editing". To maintain continuity within sequences, the editor will often cut on character action so that the scene flows together without noticeable jump-cuts (see below).
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