![]() Metric montage example from Eisenstein's October. This montage is used to elicit the most basal and emotional of reactions in the audience. ![]() It is easiest to understand these as part of a spectrum where the image content matters very little, while at the other it determines everything about the choices and combinations of the edited film.ħ 5 Methods of Montage 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. In addition, the "lower" types of montage are limited to the complexity of meaning which they can communicate, and as the montage rises in complexity, so will the meaning it is able to communicate (primal emotions to intellectual ideals). These varieties of montage build one upon the other so the "higher" forms also include the approaches of the "simpler" varieties. Although Soviet filmmakers in the 1920s disagreed about how exactly to view montage, Sergei Eisenstein marked a note of accord in "A Dialectic Approach to Film Form" as "the nerve of cinema", and "to determine the nature of montage is to solve the specific problem of cinema".ģ The Explanation While several Soviet filmmakers, such as Lev Kuleshov, Dziga Vertov, and Vsevolod Pudovkin put forth explanations of what constitutes the montage effect, Eisenstein's view that "montage is an idea that arises from the collision of independent shots" wherein "each sequential element is perceived not next to the other, but on top of the other" has become most widely accepted.Ĥ Vsevolod Pudovkin Pudovkin is one of the most famous and important of the Soviet Montage filmmaker.ĥ Eisenstein’s Methods Eisenstein describes five methods of montage in his introductory essay "Word and Image". In fact, each spectator’s path watching histoire du cinema is different based on their emotional response to the film and their ability and capacity of understanding.Presentation on theme: "VV 301 – FILM STUDIES SOVIET MONTAGE."- Presentation transcript:Ģ Definition Soviet montage theory is an approach to understanding and creating cinema that relies heavily on editing (montage is French for "build, organize"). In fact, what is important is what the spectator makes of the moment and that he brings his own interpretation into the film. In this film Godard never imposes a fixed interpretation or fixed position and does not allow himself to create a specific meaning. He poses questions and invites the spectator to relate to the film based on their own understanding of it. Through the intellectual montage that he offers in the film he uses the moment of edit to create an intellectual collision between juxtaposed ideas and images that cannot be conveyed in one image. ![]() In Histoire du Cinema Godard examines the historical, social, cultural and political impact of cinema. By doing this, Godard allows the ideas and our interpretation of them to float around in our mind. For instance, he superimposes two, three or more images that gradually fade in and out, but never disappear completely and stay on the screen for a few minutes at a time. Through intellectual montage Godard presents the viewer with new ways of looking at cinema and the world, and allows them to form their own personal impressions. In Histoire du Cinema Godard keeps throwing up new ideas and stimulating the viewer’s reactions. In fact, intellectual montage brings an opportunity to direct whole thought processes as well. Through superimposing and juxtaposing images, Godard let the viewer to reconstruct new meaning. Through the juxtaposition of assembling different images, Godard presents the complexity of where cinema comes from, what it has achieved and what it is capable of achieving. In Histoire du Cinema Godard also uses intellectual montage in order to explain the history of the cinema not chronologically (meaning showing the progress and evolution of cinema), but through mixing eras and styles, authors and films of different periods. In fact, through the juxtaposition or collision of contrasting shots or sequences, intellectual montage generates ideas in the viewer’s mind, which are more than the meaning of the shots themselves. ![]() The shots create a metaphor and convey a deeper meaning that cannot be experienced from the story alone. Through this montage Eisentien uses different related elements as the visual metaphor to bring out the meaning of the scene. Intellectual montage as used by Sergei Eisentien is the montage that images combine in order to emphasize and obtain an intellectual thought.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |