Many of us were taught by well-meaning English teachers to notify the reader of a transition of time or place. We worked to perfect transition sentences and to use what "Hooked" author Les Edgerton calls various transition techniques to transport the reader hither and yon: flashbacks and flashforwards and location changes, or focusing on another character, as the story required."
Edgerton explains how literature influenced silent films. "MEANWHILE BACK AT THE RANCH" lingered on an otherwise blank screen. When movies first incorporated sound, a voice-over, or a voice over and text pronouncement, delivered notice of every time or setting transition.
The first film to use a jump cut--a transition where the narrative simply jumps to the next scene without forewarning the viewer--was Jean-Luc Godard's "Breathless." Godard had shot 8,000 meters of film, and the producers had a maximum limit of 5,000 meters. Godard had to cut the film down or it would be unsellable. According to Godard, he and his editor flipped a coin at each scene in a sequence and let fate determine which footage to cut. Necessity invented the jump cut.
Some critics hated this new storytelling technique, but others loved it, and "eventually, the new kids on the block ruled." Now screenwriters just write the next scene without any labeling, regardless of its placement in the narrative, chronological or not.
Edgerton says film and television are doing the most in training readers these days. "The astute writer will realize that and write accordingly."
I've received critiques that faulted me for not demarking transitions in character POV, or time and place. In many places, a clarification was needed. At others, though, the flow for the reader seems uninterrupted. Then I debate: do I add words to for a more detailed transition? Or will the reader appreciate the lack of a pause in the action or emotion?
I feel transitions should be long jumps. Maybe triple jumps. But not sack races.