Those video montages that isolate a recurring motif (a phrase, image, an action) from various sources and edit them together rapidly to bring attention to that recurring motif are typically considered the purview of what Andy Baio referred to as "obsessive-compulsive superfan[s]" when he coined the term supercut in a 2008 blog post. Baio's comments had been prompted by a viral video montage of every instance of the term "What" from the TV series LOST. They can be lots of fun to watch, such as this fantastic supercut of every movie reference in The Simpsons -- which ended up as an epic double-feature and still made it only to season 10. Or this supercut of every cameo made by Alfred Hitchcock.
But they can also be serious tools for conveying information, a more meme-friendly version of Sergei Eisenstein's notion of intellectual montage for the internet age. The video below is my attempt at a sort of academic supercut that tries to convey some ideas about the cinematic history of Vienna's Prater amusement park by cutting together similar scenes in films from the silent era to the present.
Now I'll try it in words...
Whether it is starring in a melodrama from the 1920s or an action film from the 1990s, the cinematic Prater is almost always depicted in a montage sequence featuring a series of requisite shots: an extreme high-angle view from the Riesenrad, a close-up of balloons for sale, a leisurely ride through the park, and most significantly a liberated camera that takes a first-person perspective on an amusement ride. Add some dancing, music, and eventually the animatronic gorilla and you have the aesthetic ingredients for nearly every cinematic appearance the Prater has made.
The supercut is more effective, isn't it?