Japanese cinema

The podcast about the Wind phone: http://www.thisamericanlife.org/radio-archives/episode/597/one-last-thing-before-i-go

Kurosawa and Movement

Ozu: The Depth of Simplicity

Montages

What montage do the following films use?

Metric (where the editing follows a specific number of frames (based purely on the physical nature of time), cutting to the next shot no matter what is happening within the image)
Rhythmic (cutting based on time, but using the visual composition of the shots - along with a change in the speed of the metric cuts - to induce more complex meanings than what is possible with metric montage)
Tonal (a tonal montage uses the emotional meaning of the shots - not just manipulating the temporal length of the cuts or its rhythmical characteristics - to elicit a reaction from the audience even more complex than from the metric or rhythmic montage)
Overtonal (the overtonal montage is the cumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicated effect)
or Intelligent (uses shots which, when combined, draw out an intellectual meaning)?

The Karate Kid (1984, Director: John G. Avildsen) (~0:50 onwards - ~ 3:00)

The Good, The Bad and the Ugly (1966, Director: Sergio Leone) (2:30 onward to 5:00 minute mark)

City of God (2002, Directors: Fernando Meirelles, Katia Lund) (Until approximately 1:45)

Psycho (1960, Director: Alfred Hitchcock)

The Godfather (1972, Director: Francis Ford Coppola) (2 - )

In The Mood For Love (2000, Director: Wong Kar Wai)

UP (2009, Directors: Pete Docter, Bob Peterson)

Kiseki/I Wish (2011, Director: Hirokazu Koreeda)

Rushmore (1998, Director: Wes Anderson)

Tree of Life (2011, Director: Terrence Malick)

JFK (1991, Director: Oliver Stone)