At the same time, the montage emphasizes the sheer variety, quantity, and accumulation of images, which are endowed with apparent magical qualities by the rapid cutting and the introductory fanfare. It seems coherent, yet mysterious—why the “Rosebud” clip just there? It’s hardly a documentary about film history; it doesn’t create a new film out of these clips; yet even as its meanings are elusive, the audience is encouraged to congratulate itself for grasping them (indeed, just for recognizing individual images within the headlong rush of the montage)
