Through the course of the 100 years of cinema's history filmmakers and theorists have been thinking, experimenting, and writing about what the junctures between shots and sequences signify. There is presently a wealth of knowledge regarding the semiotics of film visual and audio editing that can be used to help define a relational data base for the digital domain of hypermedia. A language of editing possibilities can be constructed. The results would be a multipurpose database in which to navigate within hypermedia. A movie is parsed into component plot points, aesthetic junctures, and narrative moves that are reconstructed into various contiguous combinations as a function of user input, and the computer subsequently responds relative to various rhetoric rules that it has been assigned to follow.
User input is recollected by the computer as an aspect of user intention.
Intention is defined in the context of constructive language skills applied by the user . Hypermedia presents a frustrating and incoherent complexity and overload of discrete elements that need to be structured in accessible, enjoyable, and meaningful form. Montage theory can be applied to create a relational data base for the purposes of navigation in hypermedia. Interactivity is based on the creative mesh of shared language. Language is inherently ordered.