That’s an interesting thought though - were the cinematic tendencies to replace long, steady shots with quick cuts AND to replace purpose-composed orchestral scores with pop soundtracks mutually reinforcing, a case of audio and video switching roles?

Like, songs with motive force of their own lend a heavily cut sequence the kind of coherence and continuity that long, carefully matched shots used to; insert shots that focus on important props or actions in the “Hey Lookit This” role that orchestral stings used to…