I've just been looking around for some information on "cuts" as I called them but a cut is just one method of moving from shot to shot via a transition.
A brief outline of transitions can be found at Elements of Cinema - Types of Transitions and this led me to another of their articles on juxtaposition and The Kuleshov Effect.
Kuleshov discovered that depending on how shots are assembled the audience will attach a specific meaning or emotion to it.In his experiment, Kuleshov cut the shot of an actor with shots of three different subjects: a hot plate of soup, a girl in a coffin and a pretty woman lying in a couch. The footage of the actor was the same expressionless gaze. Yet the audience raved [sic] his performance, saying first he looked hungry, then sad, then lustful.
Gabe Moura, www.elementsofcinema.com/editing/kuleshov-effect-and-juxtaposition/ (July 1, 2014)
On another note, I recently watched Hitchcock's Rope (1948) as it was mentioned in a book I was reading as being remarkable for only having 10 transitions throughout the whole film, many of which are disguised.
Alfred Hitcock, Rope (1948)
Image from: www.ifi.ie/wp-content/uploads/06431THUMB_edited-1LRG.jpg
If you haven't watched Rope, I can recommend it. It's claustrophobic and intense.
Watch it before you read The 10 Hidden Cuts in Rope.
Not that all of them are "hidden" but it's amazing to me that the straight cuts (of which there are only a handful) don't feel out of place, completely jarring to the senses, just plain wrong when they are so sparse.
I suspect there's some mastery afoot.
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