I think this way of analyzing a story is essential. But here's another perspective (not a difference but a superset--a perspective that contains this or any other sequencing).

I think we experience a movie story the same way we experience a symphony (or a song). There is the basic melody, but there are multiple and simultaneous lines of movement. If the scheme were a score, there would be a line for the melody (the throughline), but there would be parallel lines for other dimensions.

In your overall breakdown, parts 4-6 (and maybe 7) would be parallel bars on the score:

Part 4: Subplots, Relationships and Character Functions

Part 5: Metamorphosis

Part 6: Themes

In other words, while the plot (throughline) is going on, the other 3 lines are carrying forward simultaneously. (E.g. the Metamorphosis begins with the status quo--opening--of Act 1 and continues through the other elements of the Master Sequence.)

But there are other lines as well. Within the Master Sequence, there are many mini-sequences that divide up a segment or even a scene, but also call backwards or forwards to other mini-sequences.

Our brains process these many different lines as a single story, much as our eye processes the various individual frames of a motion picture as action (the persistence of vision effect, but at the plot level, the Kuleshov effect).