Abstract
The relevance of this study stems from the need to reconsider the relationship between cognitive change and cinematic form in the digital age. This research builds upon prior investigations in cognitive media studies and editing theory, focusing specifically on the emerging phenomenon of clip thinking. The central problem addressed is how shifts in viewer cognition – driven by digital media consumption – have transformed the logic of film editing. The aim of the study is to determine how clip thinking influences editing perception and montagestrategies in contemporary cinema. The research tasks include defining the cognitive features of clipthinking, identifying its impact on the audience’s reception of editing techniques, and analyzing itsmanifestation in global and kazakh film practices. Methodologically, the study employs a qualitativeapproach combining cognitive theory analysis, comparative film analysis, and synthesis of statistical data on attention span. Six films were selected and analyzed with a focus on average shot length, narrative structure, and editing rhythm. The results reveal three dominant editing trends corresponding to clip-thinking cognition:accelerated pacing, associative montage, and hybrid rhythmic structures. These features wereconsistently observed across both global and kazakh cinematic examples. In the discussion, these results are interpreted as evidence of a larger cognitive realignment within screen culture. The findings are situated in dialogue with current interdisciplinary research on digital perception, editing theory, and neurocinema. Limitations include the qualitative nature of film selection and absence of biometric data. The study concludes that montage now functions as a cognitive interface shaped by audience perception. This perspective offers practical insights for editors, educators, and researchers exploring the evolving grammar of cinema in the 21st century.