Cut to the Climax:
Editing, Pacing and Genre Conventions in Modern Film

 

Joey Fisher

Cinema & Television Arts, Elon University

Submitted in partial fulfillment of the requirements in an undergraduate senior capstone course in communications

Abstract

The climactic moments of modern films reveal far more than narrative resolution—they expose the editing rhythms that define and distinguish genres. Action, horror, and drama each build tension in uniquely patterned ways, and the pacing choices editors make during these final sequences shape how audiences experience emotional payoff. Using quantitative content analysis, the climaxes of nine films released within the past decade (2015-2025) were examined by recording the number of cuts, average shot length, total sequence duration, and syntagma classification based on Christian Metz’s theory (1974). Norman Hollyn’s concept of the “Lean Forward Moment” (2009) was used to identify each film’s climax, ensuring consistency across genres. Findings revealed distinct pacing patterns aligned with traditional genre expectations—action films featured rapid cuts and short shot lengths, horror films employed a mix of suspense and abrupt editing, and dramas relied on longer takes to emphasize emotional depth. However, some films deviated from expected norms, suggesting that genre editing practices are increasingly flexible. This study contributes to ongoing discussions about the evolving role of editing in genre storytelling, particularly during a film’s most narratively significant moment.

Keywords: cinema, genre storytelling, syntagma theory, climactic scenes, content analysis
Email: jfisher27@elon.edu

I. Introduction

What makes a horror movie scary? What keeps you on the edge of your seat during an action movie? What causes you to burst into tears when watching a drama? A movie’s editing is one of the main reasons audiences feel so attached to what’s on the big screen. Editing dictates the pacing of a film, shaping tension, excitement, and emotional weight by controlling how quickly shots change and how scenes flow together. Throughout Hollywood cinema’s lifespan, the editing in films has become increasingly fast-paced, adapting to modern audience attention spans and storytelling demands (Cutting, Delong & Nothelfer, 2010). This trend has become even more pronounced in recent years, as modern films—particularly those produced in the era of streaming services—continue to emphasize faster pacing and cuts to maintain audience engagement (Gay, 2010). Despite these widespread changes, editing, particularly its pacing, remains a defining feature of genre filmmaking. However, little comparative research has examined how pacing differs across genres in modern Hollywood films. This gap both presents an opportunity to explore a new idea, while also raising broader questions about how genre identity is maintained in this era of ever evolving editing norms and shifting audience expectations.

This study uses Christian Metz’s syntagma theory, which categorizes different types of film sequences based on their narrative and editing structures (Metz, 1974). Applying that theory, this paper identified the most consistent and narratively significant moment across genres by focusing on the climax, which typically serves as a clear syntagmatic unit and the film’s emotional and narrative peak. Selecting the climax as the basis for analysis ensures comparability between genres, since pacing is often at its most deliberate and genre-defining during this moment. The editing choices made within this section of a film may provide clear insights into how pacing reinforces genre identity.

This study examines how pacing differs across the climaxes of modern horror, action, and drama films, analyzing how editing conventions shape, but also conform to a movie’s genre. By identifying patterns in pacing variation, this research aims to contribute to a greater understanding of the role editing plays in audience perception and the evolution of genre filmmaking.

II. Literature Review

Editing and pacing have gone through significant transformations throughout film history. While early films relied on longer takes and continuity editing, modern films have adopted increasingly rapid cutting styles to maintain engagement (Cutting, Delong & Nothelfer, 2010). One of the first widely recognized editing techniques established was the continuity editing system, pioneered in classical Hollywood cinema in the early 1900s. Principles such as the 180-degree rule, shot/reverse shot editing, and match-on-action cuts were all applied to create the illusion of continuity, making cuts between shots seamless and natural to audiences (Berliner & Cohen, 2011). As filmmaking technology improved, the introduction of the Moviola editing system (Landay, 2019) and later nonlinear digital editing software such as Premiere Pro and Davinci Resolve revolutionized the editing process, allowing for greater flexibility in pacing and shot construction for the editor (Gay, 2010).

By the late 20th century, editing styles became more dynamic, influenced by the increasing demand for high-energy, fast-paced storytelling (Gay, 2010; Pearlman, 2009). Walter Murch, a widely acclaimed editor, argues that editing is not just a technical process, but an intuitive art where the rhythm and timing of cuts evoke emotional responses from the audience. His “Rule of Six” outlines six priorities that editors should consider when deciding where to make a cut: emotion (51%), story (23%), rhythm (10%), eye-trace (7%), two-dimensional plane of screen (5%), and three-dimensional space of action (4%) (Murch, 2001). This hierarchy emphasizes that the emotional continuity and narrative clarity of a film matter more than technical precision. As editing tools became more advanced, these principles became easier to execute, contributing to the acceleration of modern pacing (Murch, 2001). In modern cinema, digital filmmaking has accelerated pacing trends. With the rise of streaming platforms and audience attention spans getting smaller, a movie’s pacing and rhythm has been forced to speed up (Chica et al., 2021). While editing trends have clearly evolved over time, pacing styles remain distinct across different film genres, reinforcing unique storytelling conventions and audience expectations (Karahan, 2023; Roeder-Hensley, 2021).

Each genre has distinct editing rhythms and pacing strategies. Action films tend to include fast-cutting sequences to heighten intensity, often averaging significantly more shots per film than other genres, emphasizing speed, motion, and constant stimulation (Neale, 2000; Follows, 2023). Horror films manipulate pacing unpredictably, alternating between long, suspenseful shots and abrupt, jarring edits to elicit fear and unease. According to Follows’ analysis of over 1,000 films, horror tends to have fewer shots than action but still makes deliberate use of editing to control psychological tension. In contrast, drama films rely on longer, drawn-out takes to maximize the emotional impact of character interactions and dialogue (Katz, 1991). As Follows notes, dramas typically have the lowest number of cuts per film, reinforcing their slower, more reflective tone. These editing choices are crucial to shaping genre-specific storytelling and are necessary for keeping audiences engaged in ways that align with their expectations for each genre (Roeder-Hensley, 2021). Nowhere are these conventions more evident than in a film’s climax, where narrative tension reaches its peak before resolution (Alderson, 1994). While these conventions are broadly understood as the norm, there is limited research that systematically compares how pacing is deployed in the climaxes of modern films across genres.

Given these clearly defined stylistic expectations, it is essential to examine climactic sequences through a consistent narrative and structural lens. By applying Norman Hollyn’s concept of the “Lean Forward Moment” to identify the climax and Christian Metz’s syntagma theory to define the boundaries and structure of those sequences, this study ensures that pacing analysis is grounded in both narrative theory and formal film structure.

To ensure this consistency in defining climaxes across different genres of film, this study will be applying Christian Metz’s Syntagma Theory, which categorizes film sequences based on their narrative and editing structures. Rather than isolating an arbitrary moment, this framework allows for a structure identification of climaxes, ensuring that the editing patterns being analyzed correspond to a film’s most narratively significant sequence no matter the genre. Metz identifies eight types of syntagmas, each representing different methods of organizing film sequences:

  1. Autonomous Shot – A single shot that holds meaning independently from surrounding sequences. Often seen in intertitles, symbolic images, or establishing visuals, it stands outside of narrative continuity.
  2. Parallel Syntagma – Two or more sequences shown in alternation that are not temporally or spatially connected but are linked thematically or symbolically, inviting interpretation through juxtaposition.
  3. Bracket Syntagma – A collection of shots that are tied together by a shared idea, tone, or motif rather than narrative logic. Often used in montages or to highlight a collective theme or experience.
  4. Descriptive Syntagma – A non-narrative sequence that visually explores an environment, object, or atmosphere. These shots emphasize mood, tone, or aesthetics over plot advancement.
  5. Alternate Syntagma – A pattern of cross-cutting between actions occurring in different spaces simultaneously. Often used to create suspense or emphasize narrative convergence.
  6. Episodic Sequence – A sequence composed of several loosely connected moments that span time, used to show character development or story evolution without focusing on moment-to-moment continuity
  7. Ordinary Sequence – A series of shots arranged in logical, causal order, representing continuous action across time and space. This structure drives the narrative forward with clear plot progression.
  8. Linear Narrative Syntagma/Scene – A continuous sequence filmed in real time, typically in one location, where character actions unfold without narrative interruption. It mirrors the classical notion of a “scene” in theater.

In the context of this study, identifying the specific syntagma that governs a film’s climax will help to understand how pacing functions within different genres (Metz, 1974).

The evolution of film editing and pacing has been shaped by a long history of change. From the continuity editing system of early Hollywood to the rapid-cutting techniques of modern cinema, pacing has become a defining feature of filmmaking. Digital editing tools and the rise of modern media practices have accelerated pacing even further. While overall editing speeds have increased though, pacing remains a crucial element of genre identity, and despite the well-documented role of pacing in genre storytelling, comparative research on how pacing functions at a film’s climax remains limited. Representing the most narratively and emotionally significant moment in a film, the climax is the ideal focal point for studying how editing conventions reinforce genre expectations. By applying Hollyn’s and Metz’s ideas, this study will analyze how the pacing of a film’s climax is dependent on its genre, ensuring that editing patterns are assessed within a structured narrative framework.

Research Questions

  1. How does editing pacing differ in the climaxes of modern action, horror, and drama films, and how do these differences reinforce each genre’s storytelling conventions?
  2. To what extent must a film adhere to traditional editing conventions in order to be recognized as belonging to a specific genre?

III. Methods

This study uses quantitative content analysis to examine how editing pacing differs in the climaxes of modern action, horror, and drama films. Quantitative content analysis provides a systematic and replicable method for examining observable media features, making it an appropriate approach for analyzing editing structures and pacing across film genres (Neuendorf, 2017). The analysis focuses on a set of measurable pacing and structural elements within each film’s climactic sequence. This method allows for systematic comparisons between genres, providing insight into how editing choices reflect each genre’s storytelling conventions.

In addition to identifying cross-genre differences, the study also investigates whether each film adheres to or deviates from traditional editing conventions for its genre, based on previously established norms. This dual focus enables a deeper understanding of both genre conformity and innovation in modern cinematic editing.

Sample Selection

This study analyzes the climactic sequences of nine films, with three chosen from each of the following genres: Action, Horror, and Drama. The selected films are:

  • Action: Mad Max: Fury Road (2015), John Wick: Chapter 4 (2023), Top Gun: Maverick (2022)
  • Horror: Hereditary (2018), Get Out (2017), The Invisible Man (2020)
  • Drama: Marriage Story (2019), Moonlight (2016), La La Land (2016)

All films were released between 2015 and 2023, a range chosen to ensure that the works reflect modern editing techniques, digital production standards, and recent industry trends. Prior research has shown that editing pacing has accelerated in recent decades due to evolving audience expectations and advancements in technology (Cutting, Delong, & Nothelfer, 2010; Chica et al., 2021). Focusing exclusively on films from the last 10 years maintains consistency across the sample and avoids historical distortion in editing practices. Although the sample size is relatively small, it was purposefully selected to allow for in-depth examination of genre-specific editing patterns and to ensure consistency in scope and analysis.

These films were selected based on their critical or commercial recognition and clear alignment with their respective genres, as categorized by film industry standards, marketing, and popular reception. Only the climactic sequence of each film will be analyzed, with Norman Hollyn’s “Lean Forward Moment” used to consistently identify the moment of peak narrative and emotional engagement across all samples, while Christian Metz’s Syntagma Theory provides the framework for determining the start and end of each sequence, ensuring it is treated as a cohesive narrative unit.

Protocol

Each film will be analyzed using a standardized protocol:

  1. Identify the climax using Norman Hollyn’s Lean Forward Moment (2009) as a guide.
  2. Mark the beginning and end of the sequence using Christian Metz’s Syntagma Theory (1974) as a theoretical framework.
  3. Record the following data points:
    1. Number of cuts (shot transitions)
    2. Average shot length
    3. Total sequence duration
    4. Start and end timestamps of the climactic sequence within the film
    5. Syntagma classification (based on Metz’s eight syntagmas)
    6. Additional observations regarding the editing of each film when compared to traditional editing conventions for that film’s genre.

Films were reviewed multiple times to ensure accurate shot counting and time measurements. Qualitative observations were noted about how each film either conforms to or deviates from established editing patterns in its genre, helping to address the second research question regarding the necessity of genre-based editing conventions.

Data Analysis

After data collection, a two-part analysis was conducted. First, pacing metrics—including number of cuts, average shot length, total sequence duration, syntagma type, and start/end timestamps—was compared across genres to identify patterns in how climactic sequences are edited. This addresses how pacing is both similar and different between action, horror, and drama films. Second, each film’s editing style was evaluated against traditional editing conventions for its genre using recorded observations, allowing for assessment of whether modern films conform to or diverge from expected genre norms.

IV. Results

This study examined the climactic sequences of nine modern films across three genres—action, horror, and drama—focusing on editing metrics such as number of cuts, average shot length, total sequence duration, syntagma classification, and alignment with traditional editing conventions.

To better illustrate pacing variation across genres, Figure 1 presents a comparison of each film’s number of cuts, average shot length, and total duration.

Red = Action
Blue = Horror
Yellow = Drama		 Timestamp for start of sequence # of cuts Average shot length (in seconds) Type of sequence Timestamp for end of sequence Total sequence duration
Mad Max: Fury Road (2015) 1:36:22 192 1.87 The Ordinary Sequence 1:42:53 6 minutes 31 seconds
John Wick: Chapter 4 (2023) 2:23:03 73 3.85 The Ordinary Sequence 2:32:47 9 minutes 44 seconds
Top Gun: Maverick (2022) 1:48:48 290 1.76 The Ordinary Sequence 1:56:11 7 minutes 23 seconds
Hereditary (2018) 1:50:47 32 12 The Ordinary Sequence 1:57:11 6 minutes 24 seconds
Get Out (2017) 1:34:34 82 3.04 The Ordinary Sequence 1:38:45 4 minutes 11 seconds
The Invisible Man (2020) 1:48:55 29 5.01 The Parallel Syntagma 1:51:21 2 minutes 25 seconds
Marriage Story (2019) 1:30:50 148 4.12 The Ordinary Sequence 1:41:02 10 minutes 12 seconds
Moonlight (2016) 1:39:05 39 10.21 The Ordinary Sequence 1:45:40 6 minutes 35 seconds
La La Land (2016) 1:51:13 42 9.95 The Linear Narrative Syntagma 1:58:12 6 minutes 58 seconds

Figure 1. Climax Analysis Chart of Films, by Genre

Action Films

  • Top Gun: Maverick featured 290 cuts in 7 minutes and 23 seconds, averaging 1.76 seconds per shot.
  • John Wick: Chapter 4 had 73 cuts over 9 minutes and 44 seconds, with an average shot length of 3.85 seconds.
  • Mad Max: Fury Road contained 192 cuts in 6 minutes and 31 seconds, averaging 1.87 seconds per shot.

All three action films were classified as “Ordinary Sequences,” suggesting traditional cause-and-effect editing structures typical of the genre. While John Wick: Chapter 4 had its climax paced a little slower than the other two films, all three sequences adhered closely to conventional action editing patterns, such as quick tempo, cross-cutting, and rapid escalation of conflict.

The three action films analyzed featured the fastest pacing across all genres. On average, these films contained 185 cuts in their climactic sequences, with an average shot length of 2.5 seconds and an average sequence duration of 7 minutes 52 seconds. This data supports the idea that action films emphasize rhythm and momentum during climactic moments, aligning with expectations of the genre’s fast-paced style.

Horror Films

  • Hereditary stood out with only 32 cuts in a 6-minute climax, resulting in an unusually long average shot length of 12 seconds.
  • Get Out had 82 cuts in 4 minutes and 9 seconds, averaging 3.04 seconds per shot.
  • The Invisible Man featured 66 cuts in 3 minutes and 33 seconds, averaging 3.23 seconds per shot.

Horror films in the sample varied in both pacing and sequence construction. Hereditary leaned into atmospheric dread with long, drawn-out shots, while Get Out and The Invisible Man built tension through sharper editing and faster transitions. Though all sequences reflected horror’s reliance on suspense, The Invisible Man uniquely used a parallel syntagma, intercutting simultaneous moments of action to heighten the sense of uncertainty and threat.

Hereditary, Get Out, and The Invisible Man demonstrated a more varied pacing pattern. While not as rapid as action films, their climaxes averaged 47 cuts with an average shot length of 6.7 seconds and an average duration of 4 minutes 20 seconds. Horror editing appeared to alternate between suspenseful lingering and abrupt tension spikes, reflecting the genre’s tendency to manipulate audience anticipation and release.

Drama Films

  • Marriage Story had 148 cuts over a 10-minute and 12-second sequence, averaging 4.12 seconds per shot.
  • Moonlight featured 42 cuts in 7 minutes and 10 seconds, with an average shot length of 10.21 seconds.
  • La La Land had 75 cuts across 12 minutes and 27 seconds, averaging 9.95 seconds per shot.

Drama films showed the slowest overall pacing, emphasizing dialogue, stillness, and emotional gravity. Marriage Story’s lengthy confrontation relied on rhythmically structured dialogue and restrained cutting, while Moonlight and La La Land used longer takes to evoke intimacy and reflection. La La Land’s use of a “Linear Narrative Syntagma” distinguished it structurally, as it presented a self-contained, fantasy-driven reimagining of the film’s resolution.

The drama category, represented by Marriage Story, La La Land, and Moonlight, exhibited the slowest editing rhythms overall. The average number of cuts per climax was 76, with shot lengths averaging 8.1 seconds and sequence durations averaging 7 minutes 55 seconds. These extended takes and longer sequences emphasize emotion, dialogue, and character development—typical of dramatic storytelling.

V. Discussion

The data presented in this study highlighted that while editing pace had continued to accelerate across the Hollywood film industry (Cutting, Delong, & Nothelfer, 2010), genre-specific conventions still held significant influence over how climaxes were constructed. The differences in average shot length and structural pacing across the nine films revealed that editing served as a powerful signal of genre identity. These findings supported prior genre theory suggesting that form was essential to how audiences categorized and responded to a film’s story (Neale, 2000; Roeder-Hensley, 2021). Action films tended to rely on rapid montage for impact, dramas used space and stillness for emotional emphasis, and horror fluctuated between control and chaos to evoke suspense. These tendencies were not only reinforced in the data but also reflected how editing pace helps deliver the specific emotional or narrative experience expected from each genre.

This study contributed new insight by systematically analyzing editing pacing across genres within a single, highly focused narrative moment—the climax—rather than across entire films. While past research had charted the overall evolution of shot length and tempo in Hollywood cinema (Cutting et al., 2010) and outlined genre characteristics in broad terms (Neale, 2000; Katz, 1991), this project offered concrete, comparative pacing data tied to a clearly defined story function. Moreover, by combining Metz’s syntagmatic framework (Metz, 1974) with Hollyn’s audience-centered “Lean Forward Moment” (Hollyn, 2009), the study introduced a hybrid approach that accounted for both narrative structure and emotional engagement. This dual lens offered a useful model for future work in film editing, genre theory, or cinematic pacing.

At the same time, the results complicated any rigid understanding of genre form. Hereditary’s unusually slow pacing for a horror climax, and John Wick: Chapter 4’s slower tension building, challenged the notion that films must follow genre formulas to achieve emotional or narrative payoff. These deviations exemplified Walter Murch’s (2001) assertion that editing was not a mechanical process governed by rules, but a “thinking feeling” discipline—driven by intuition, rhythm, and tone. These examples suggest that while traditional editing conventions help reinforce genre identity, they are not strict requirements for genre recognition. Films may depart from established norms while still being understood and accepted within their genre, especially when other storytelling elements signal that genre clearly.

Editing patterns should not be viewed as a one-way street, but rather as a fork in the road—where tradition offered a path forward, but modern filmmaking increasingly took detours. The structural variation observed across the films—particularly between traditional sequences and more experimental ones like that of The Invisible Man—suggested that how a climax was built could be as impactful as how quickly it moved. These findings underscored that pacing operated on multiple levels: not just in speed or rhythm, but in how narrative logic, visual arrangement, and emotional stakes were orchestrated across genres.

VI. Conclusion

This study examined how editing pacing varies across the climaxes of modern action, horror, and drama films, offering a structured approach to understanding the stylistic role of editing within genre filmmaking. By focusing on the most narratively intense moments in each film, the research highlights how pacing functions not only as a storytelling device but also as a marker of genre identity.

Rather than aiming to define fixed rules, this analysis contributes to an ongoing conversation about how editing practices evolve in response to shifting audience expectations and creative trends. While patterns emerged across genres, the study emphasizes that pacing is best understood as a flexible language—one that can reinforce, adapt, or even challenge conventional forms. Although this study focused on formal editing structures, future research could examine how editing choices influence audience perception—particularly in genres like true crime or courtroom drama, where pacing and rhythm might affect judgments of character, guilt, or victimhood. In an era where cinematic rhythm is shaped by both tradition and innovation, further exploration of how editors construct these climactic sequences can deepen our understanding of genre and storytelling in contemporary film.

That said, this study was limited by its relatively small sample size—analyzing only nine films—and by its narrowed focus on climactic sequences rather than entire narratives. It also excluded hybrid genres and international cinema, which may exhibit unique pacing norms. Future research could build on this foundation by exploring pacing across full films, expanding the number and diversity of films included, or investigating genre combinations such as romantic comedies or drama-thrillers. These broader studies could offer even richer insight into how pacing contributes to genre perception in an increasingly fluid cinematic landscape.

Acknowledgements

Thank you to Professor Glenn Scott for his mentorship throughout the creation of this essay, and to Professor Ray Johnson for introducing me to many of the ideas discussed here in his Film Theory class. I would also like to thank Rachel Garner, my incredibly talented and intelligent partner, for reviewing this paper multiple times before submission.

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